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FOREWORD. 

This  bulletin  is  the  result  of  an  increased  public  demand  for  biogra- 
phies of  American  artists  and  other  information  relative  to  the  growth 
of  art  in  America.  An  examination  of  the  list  of  material  to  which 
reference  has  been  made  will  show  the  faithful  work  which  has  been 
done  by  the  compiler.  Miss  Helen  L.  Earle,  of  this  department. 

MARY  C.  SPENCER, 

State  Librarian. 


266109 


TABLE  OF  CONTENTS 


Abbreviations - - 17 

Bibliography - - — 239 

Biographical  sketches . 21 

Etchers.- - - - — ._ 13 

- 12 

.    -.  15 

..  - .-._ 16 

14 

- 14 

9 

11 


Illustrators. - - 

Members  of  the  Legion  of  Honor 

Michigan  artists. — 

Miniature    painters .  .. 

Mural  painters  and  stained  glass  designers. 

Painters — 

Sculptors - 


rORTR.VITS 


John     White     Alexander 

Edwin  Austin  Abbey 

George  Inness " 

John  LaFarge.... " 

J.  Gari  Melchers " 

Elizabeth  Nourse " 

Augustus  Saint-Gaiidens. " 

John  Singer  Sargent " 

Henry  Ossawa  Tanner .  " 

James  Abbott  McNeill  Whistler •' 


Frontispiece 

Facing  Page.  21 
115 
127 
145 
158 
186 
188 
207 
231 


PAINTERS 


Abbey,  Edwin  Austin 

Alexander,  John  White 

Alls  ton,  Washington 

Anschutz,  Thomas  Pollock 

Armstrong,  D.  Maitland 

Baker,  Elizabeth  Gowdy 

Baker,  Ellen  Kendall 

Barlow,  Myron 

Beaux,  Cecilia 

Beckwith,  James  Carroll 

Belcher,  Hilda 

Bellows,  George  Wesley 

Benson,  Frank  Weston 

Bierstadt,  Albert 

Bisbing,  H.  Singleton 

Blakelock,  Ralph  Albert 

Blashfield,  Edwin  Rowland 

Blum,  Robert  Frederick 

Blumenschein,  Ernest  Leonard 

Blumenschein,  Mary  Shepard  Green 

Bogert,  George 

Borglum,  J,  Gutzon  M. 

Bouguereau,  Elizabeth  Gardner 

Bowen,  Benjamin  James 

Breckenridge,  Hugh  Henry 

Breuer,  Henry  Joseph 

Bridges,  Fidelia 

Bridgman,  Frederick  Arthur 

Browne,  George  Elmer 

Brush,  George  DeForest 

Carlsen,  Emil 

Carpenter,  Francis  Bickwell 

Cassatt,  Mary 

Champney,  James  Wells 

Chapman,  John  Gadsby 

Chase,  William  Merritt 

Church,  Frederick  Edwin 

Church,  Frederick  Stuart 

Clarke,  Thomas  Shields 

Cole,  Thomas 

Coman,  Charlotte  Buell 

Cooper,  Colin  Campbell 


Cooper,  Emma  Lampert 
Copley,  John  Singleton 
Couse,  Eanger  Irving 
Cowles,  Genevieve  Almeda 
Cox,  Kenyon 
Cox,  Louise 
Crane,  Bruce 
Crowninshield,  Frederic 
Curran,  Charles  Courtney 
Dabo,  Leon 
Dabo,  Theodore  Scott 
Daingerfield,  Elliott 
Dannat,  William  T. 
Da  vies,  Arthur  B. 
Davis,  Charles  Harold 
Deakin,  Edwin 
Dearth,  Henry  Golden 
DeCamp,  Joseph  Rodefer 
DeHaven,  Frank 
DeKay,  Helena 
Deming,  Edward  Willard 
Dessar,  Louis  Paul 
Dewey,  Charles  Melville 
Dewing,  Maria  Oakey 
Dewing,  Thomas  Wilmer 
Dillaye,  Blanche 
Dodson,  Sarah  Paxton  Ball 
Donoho,  Gaines  Ruger 
Dougherty,  Paul 
Dufner,  Edward 
Dunlap,  Mary  Stewart 
Duveneck,  Frank 
Eakins,  Thomas 
Eaton,  Charles  Harry 
Eaton,  Wyatt 
Elliott,  Charles  Loring 
Elliott,  John 
Enneking,  John  Joseph 
P^arny,  Henry 
Fenn,  Harry 
Fisher,  William  Mark 
Foote,  Will  Howe 


10 


Forbes,  Edwin 

Foster,  Ben 

Fournier,  Alexis  Jean 

Fowler,  Frank 

Frieseke,  Frederic  Carl 

Fromuth,  Charles  Henry 

Fuller,  George 

Garber,  Daniel 

Gaul,  William  Gilbert 

Gay,  Walter 

Genth,  Lillian  Matilda 

Gibson,  Charles  Dana 

Gies,  Joseph  W. 

Giflford,  Robert  Swain 

Glackens,  William  J. 

Grayson,  Clifford  Provost 

GroU,  Albert  Lorey 

Gruppe,  Charles  Paul 

Guerin,  Jules 

Gutherz,  Carl 

Haggin,  Ben  Ali 

Harding,  Chester 

Harding,  George 

Harrison,  Lovell  Birge 

Harrison,  Thomas  Alexander 

Hassam,  Childe 

Hawthorne,  Charles  Webster 

Healy,  George  Peter  Alexander 

Henri,  Robert 

Higgins,  Eugene 

Hitchcock,  George 

Homer,  Winslow 

Hopkin,  Robert 

Horton,  William  Samuel 

Hovenden,  Thomas 

Howe,  William  Henry 

Hubbell,  Henrj'  Salem 

Hunt,  William  Morris 

Hutchens,  Frank  Townsend 

Inman,  Henry 

Innesfi,  George    ^1  v 

InncKs,  George,  Jr. 

Isham,  Samuel 

Ives,  Halsey  Cooley 

Ive«,  Percy 

JohantKm,  John  Christen 

Johnson,  Eastman 

JohuHon,  Marshall 

Johnston,  John  Humphreys 

Jones,  Hugh  Holton 

Keith,  William 

Kendall,  William  Sergeant 

Kirk,  Maria  \a)U\hc 


Knight,  Daniel  Ridgway 
Kost,  Frederick 
LaFarge,  John 
Lauber,  Joseph 
Leroy,  Anita 
Leutze,  Emanuel 
Lie,  Jonas 
Little,  J.  Wesley 
Loeb,  Louis 
Longpre,  Paul  de 
Low,  Will  H. 
Lucas,  Albert  Pike 
Luks,  George  Benjamin 
MacCameron,  Robert 
MacEwen,  Walter 
McLane,  M.  Jean 
MacMonnies,  Frederick  W. 
Macomber,  Mary  L. 
Marin,  John 

Marshall,  William  Edgar 
Martin,  Homer  Dodge 
Melchers,  J.  Gari 
Metcalf,  Willard  Leroy 
Miller,  Richard 
Millet,  Francis  Davis 
Minor,  Robert  Crannell 
Mitchell,  John  James 
Monks,  John  Austin  Sands 
Mora,  F.  Luis 
Moran,  Edward 
Moran,  Peter 
Moran,  Thomas 
Mosler,  Henry 
Murphy,  John  Francis 
Nast,  Thomas 
Newcomb,  Maria  Guise 
NichoUs,  Rhoda  Holmes 
Nordfeldt,  Bror  J.  Olsson 
Nourse,  Elizabeth 
Ochtman,  Leonard 
Osthaus,  Edmund  Henry 
Page,  Walter  Gilman 
Palmer,  Walter  Launt 
Pape,  Eric 
Parker,  Edgar 
Parrish,  Stephen 
Par  ton,  Arthur 
Paulus,  Francis  Petrus 
Pax  ton,  William  McGregor 
Peale,  Charles  Watson 
Pearce,  Charles  Sprague 
Peixotto,  Ernest  Clifford 
Penfold,  Frank  C. 


11 


Perrault,  I.  Marie 
PickncU,  William  Lamb 
Piatt,  Alethea  Hill 
Pope,  Alexander 
Potthast,  Edward  Henry- 
Powell,  William  Henry 
Prellwitz,  Edith  Mitchell 
Prellwitz,  Henry- 
Proctor,  Alexander  P. 
Pyle,  Howard 
Ranger,  Henry  Ward 
Redfield,  Edward  Willis 
Reid,  Robert 
Remington,  Frederic 
Reuterdahl,  Henry 
Richards,  William  Trost 
Robinson,  Theodore 
Rolslioven,  Julius 
Ryder,  Albert  Pinkham 
Sargent,  John  Singer 
Sartain,  William 
Schille,  Alice 
Schneider,  Otto  J. 
Schofield,  W.  Elmer 
Scott,  Emily  Maria  Spaford 
Shannon,  James  Jebusa 
Shinn,  Everett 
Shirlaw,  Walter 
Shulz,  Adolph  Robert 
Simmons,  Edward  Emerson 
Sloan,  John 

Smedley,  William  Thomas 
Smillie,  James  D. 
Smith,  Francis  Hopkinson 
Smith,  Jessie  Willcox 
Smith,  Letta  Crapo 
Sonntag,  William  Louis 
Stanley,  James  M. 
Steele,  Helen  McKay 
Sterne,  Maurice 
Sterner,  Albert  E. 


Stewart,  Julius  L. 

Stuart,  Gilbert 

Sully,  Thomas 

Tanner,  Henry  Ossawa 

Tarbell,  Edmund  C. 

Taylor,  William  Ladd 

Thayer,  Abbott  Henderson 

Tiffany,  Louis  Comfort 

Trumbull,  John 

Tryon,  Dwight  William 

Turner,  Ross  S. 

Twachtman,  John  Henry 

Ulrich,  Charles  Frederick 

Vail,  Eugene 

Van  Elten,  Kruseman 

Vedder,  Elihu 

Vinton,  Frederic  Porter 

Volk,  Douglas 

Vonnoh,  Robert  William 

Walden,  Lionel 

Walker,  Henry  Oliver 

Walker,  Horatio 

Walter,  Martha 

Watkins,  Susan 

Waugh,  Frederick  J. 

Webster,  Herman 

Weeks,  Edwin  Lord 

Weir,  Julian  Alden 

Wendt,  Julia  M.  Bracken 

Wendt,  William 

Wentworth,  Cecile  de 

Whistler,  James  Abbott  McNeill 

White,  Thomas  Gilbert 

Whittredge,  Worthington 

Wiggins,  Carleton 

Wiles,  Irving  Ramsey 

Williams,  Frederick  Ballard 

Woodbury,  Charles  Herbert 

Woodwell,  Joseph  R. 

Wyant,  Alexander  Helwig 


SCULPTORS. 


Adams,  Herbert 
Aitken,  Robert  I. 
Ball,  Thomas 
Barnard,  George  Grey 
Bartlett,  Paul  Wayland 
Baxter,  Martha  Wheeler 
Beach,  Chester 


Bitter,  Karl  Theodore 
Blumenschein,  Mary  Shepard  Green 
Borglum,  John  Gutzon  M. 
Borglum,  Solon  Hannibal 
Boyle,  John  J. 
Brenner,  Victor  David 
Cadwalader-Guild,  Emma  Marie 


12 


Clarke,  Thomas  Shields 

Couper,  William 

Crunelle,  Leonard 

Dallin,  Cyrus  Edwin 

Donoghue,  John 

Donoho,  Gaines  Ruger 

Duveneek,  Frank 

Eberle,  Abastenia  St.  Leger 

El  well,  Frank  Edwin 

Ezekiel,  Moses  Jacob 

Eraser,  James  Earle 

French,  Daniel  Chester 

Grafly,  Charles 

Hosmer,  Harriet 

Hyatt,  Anna  Vaugh 

Kelly,  James  Edward 

Kemeys,  Edward 

Konti,  Isidore 

Ladd,  Anna  Coleman 

Lamb,  Ella  Condie 

Lauber,  Joseph 

Lewis,  Edmonia 

Longman,  Evelyn  Beatrice 

Lopez,  Charles  Albert 

Lucas,  Albert  Pike 

Macdonald,  James  Alexander  Wilson 

MacMonnies,  Frederick  W. 


MacNeil,  Carol  Brooks 

MacNeil,  Hermon  Atkins 

Mears,  Helen  Farnsworth 

Ney,  Elizabeth 

Niehaus,  Charles  Henry 

Pope,  Alexander 

Potter,  Edward  Clark 

Potter,  Louis 

Pratt,  Bela  L. 

Proctor,  Alexander  P. 

Remington,  Frederic 

Rhind,  J.  Massey 

Rogers,  John 

Roth,  Frederick  G.  R. 

Ruckstuhl,  Frederick  Wellington 

Saint  Gaudens,  Augustus 

Scudder,  Janet 

Taft,  Lorado 

Vedder,  Elihu 

Vonnoh,  Bessie  Potter 

Ward,  John  Q.  A. 

Warner,  Olin  L. 

Weinman,  Adolph  Alexander 

Wendt,  Julia  M.  Bracken 

Yandell,  Enid 

Young,  Mahoni 


ILLUSTRATORS. 


Abbey,  Edwin  Austin 
Ahrens,  Ellen  W. 
Bellows,  George  W. 
Birch,  Reginald  Bathurst 
Blashfield,  Edwin  H. 
Blum,  Robert  F. 
Blumenschein,  Ernest  Leonard 
Borglum,  J.  Gutzon  M. 
Chandler,  (Jeorge  W. 
Christy,  Howard  Chandler 
Church,  Frederick  S. 
Clark,  Walter  Appleton 
Cory^  Fatuiy  Y. 
Cox,  Kenyon 
Cox,  I^uifie 

CrownitiHhield.  Frederic 
Daingerfield.  Elliott 
Deming.  lulward  William 
Dewing,  Muria  Oakey 
Dielman,  Fre<lerick 


Dillaye,  Blanche 
Eaton,  Charles  Harry 
Elliott,  John 
Emmet,  Lydia  Field 
Fenn,  Harry 
Fisher,  Harrison 
Flagg,  James  Montgomery 
Fournier,  Alexis  J. 
Fowler,  Frank 
Frost,  Arthur  Burdett 
Gaul,  William  Gilbert 
Gibson,  Charles  Dana 
Glackens,  William  J. 
Green,  Elizabeth  Shippen 
Guerin,  Jules 
Harding,  George 
Harrison,  L.  Birge 
Hitchcock,  George 
Hitchcock.  Lucius  Wolcott 
Hutt,  Henry 


13 


Keith,  William 
Keller,  Arthur  I. 
Kelly,  James  Edward 
Kemble,  Edward  Windsor 
Kinney,  Margaret  West 
Kinney,  Troy 
Kirk,  Maria  Louise 
Lamb,  Ella  Condie 
Leroy,  Anita 
Loeb,  Louis 
Low,  Will  H. 
McCarter,  Henry 
McLane,  M.  Jean 
Maynard,  George  W. 
Millet,  Francis  Davis 
Mora,  F.  Luis 
Moran,  Thomas 
Nast,  Thomas 
Nicholls,  Rhoda  Holmes 
Oakley,  Violet 
Pape,  Eric 
Parrish,  Maxfield 
Peixotto,  Ernest  Clifford 
Pennell,  Joseph 
Potthast,  Edward  Henry 


Pennell,  Joseph 
Preston,  Mary  Wilson 
Pyle,  Howard 
Reinhart,  Charles  Stanley 
Remington,  Frederic 
Reuterdahl.  Henry 
Robinson,  Theodore 
Seton,  Ernest  Thompson 
Sherwood,  Rosina  Emmet 
Shinn,  Everett 
Shinn,  Florence  Scovel 
Sloan,  John 

Smedley,  William  Thomas 
Smith,  F.  Hopkinson 
Smith,  Jessie  WlUcox 
Steele,  Helen  McKay 
Stephens,  Alice  Barber 
Sterner,  Albert  Edward 
Stilwell,  Sarah  S. 
Taylor,  William  Ladd 
Turner,  Ross  S. 
Vedder,  Elihu 
Wenzell,  Albert  Beck 
Wright,  M.  Louise  Wood 
Yohn,  Frederick  Coffay 


ETCHERS. 


Bacher,  Otto 
Beatty,  Jolm  W. 
Blum,  Robert  F. 
Brown,  George  Loring 
Cassatt,  Mary 
Chandler,  George  W. 
Chapman,  John  Gadsby 
Church,  Frederick  S. 
Dielman,  Frederick 
Dillaye,  Blanche 
Duveneck,  Frank 
Farrer,  Henry 
Fenn,  Harry 
Forbes,  Edwin 
Gifford,  Robert  Swain 
Greatorex,  Eliza 
Hornby,  Lester  G. 
Hyde,  Helen 
Lauber,  Joseph 
Loeb,  Louis 

MacLaughlin,  Donald  Shaw 
Merritt,  Anna  Lea 


Mielatz,  Charles  Frederick  William 

Mitchell,  John  James 

Monks,  John  Austin  Sands 

Moran,  Mary  Nimmo 

Moran,  Peter 

Moran,  Thomas 

Nordfeldt,  Bror  J.  Olsson 

Parrish,  Stephen 

Paulus,  Francis  Petrus 

Pennell,  Joseph 

Pitts,  Lendall 

Potter,  Louis 

Schneider,  Otto  J. 

Sloan,  John 

Smillie,  James  D. 

Sterne,  Maurice 

Stevens,  Helen  B. 

Van  Elten,  Kruseman 

Washburn,  Cadwallader 

Webster,  Herman  A. 

Whistler,  James  A.  McNeill 


u 


MINIATURE  PAINTERS. 


Ahrens,  Ellen  Wetherald 
Aid,  George  Charles 
Baer,  William  J. 
Baker,  Elizabetli  Gowdy 
Baker,  Martha  Susan 
Baxter,  Martha  Wheeler 
Bayliss,  Lillian 
Beckington,  Alice 
Coudert,  Amalia  Kusener 
Dix,  Eulabee 
Emmet,  Lydia  Field 
Fuller,  Lucia  Fairchild 
Hallowell,  George  H. 
Hills,  Laura  Coombs 
Humphreys,  Marie  Champney 


Inman,  Henry 

Josephi,  Isaac  E. 

Kendall,  Margaret  Stickney 

Malbone,  Edward  Greene 

Otis,  Amy 

Peixotto,  Ernest  Clifford 

Redfield,  Heloise  Guillou 

Schille,  Alice 

Sherwood,  Rosina  Emmet 

Southwick,  Elsie  Whitmore 

Stanton,  Lucy  May 

Thayer,  Theodora  A. 

Welch,  Mabel  R. 

Whittemore,  William  John 

Wright,  M.  Louise  Wood 


MURAL  PAINTERS  AND  STAINED  GLASS  DESIGNERS. 


Abbey,  Edwin  Austin 

Alexander,  John  White 

Armstrong,  D.  Maitland 

Ballin,  Hugo 

Benson,  Frank  Weston 

Blashfield,  Edwin  H. 

Blum,  Robert  F. 

Cowles,   Genevieve   Almeda   and   Maud 

Alice 
Crowninshield,  Frederic 
Cox,  Kenyon 
Daingerfield,  Elliott 
Deming,  Edwin  Willard 
Dewing,  Thomas  Wilmer 
Dielman,  Frederick 
Dodge,  W.  DeLeftwich 
Duveneck,  Frank 
Elliott,  John 
Frieseke,  Frederic  Carl 
Grover,  Oliver  Dennett 
Guerin,  Jules 
Gutherz,  Carl 
Heinigke,  Otto 
Hunt,  William  Morris 
LaFarge,  John 
Lamb,  Charles  RoUison 
Lamb,  Ella  Condie 
Lamb,  Frederick  Stymatz 
Lathrop,  Francis 
Lauber,  Joseph 
Low,  Will  H. 
MacEwcn,  Wolter 


McLane,  M.  Jean 
Marsh,  Fred  Dana 
Maynard,  George  W. 
Millet,  Francis  Davis 
Mora,  F.  Luis 
Mowbray,  Henry  Siddons 
Oakley,  Violet 
Parrish,  Maxfield 
Pearce,  Charles  Sprague 
Peixotto,  Ernest  Clifford 
Potthast,  Edward  H. 
Reid,  Robert 
Robinson,  Theodore 
Sargent,  John  Singer 
Sears,  Taber 
Sewell,  Robert  V.  V. 
Shirlaw,  Walter 
Simmons,  Edward  E. 
Sperry,  Edward  Peck 
Steele,  Helen  McKay 
Thayer,  Abbott  H. 
Tiffany,  Louis  Comfort 
Tillinghast,  Mary  E. 
Turner,  Charles  Yardley 
Van  Ingen,  William  B. 
Vedder,  Elihu 
Walker,  Henry  O. 
Weir,  J.  Alden 
Whistler,  James  A.  McNeill 
Wiles,  Irving  Ramsey 
Willet,  William 


15 


AMERICAN  ARTISTS 


OF    THE 


LEGION  OF  HONOR. 


(The  Legion  of  Honor  of  France  is  the  most  vital  and  democratic 
order  in  the  world.  It  is  an  order  of  merit  and  has  a  genuinely  inter- 
national significance. 

In  the  Paris  salon  the  insignia  of  the  order — the  "red  ribbon" — is  the 
highest  award  given  to  exhibitors. 

The  following  American  painters  and  sculptors  have  received  this 
coveted  prize.) 


Abbey,  Edwin  Austin 
Alexander,  John  White 
Armstrong,  D.  Maitland 
Bartlett,  Paul  Wayland 
Bierstadt,  Albert 
Bisbing,  H.  Singlewood 
Bridgman,  Frederic  Arthur 
Cassatt,  Mary 
Dannat,  William  T. 
Gay,  Walter 
Harrison,  T.  Alexander 
Howe,  William  Henry 
Johnston,  John  Humplu"eys 
Knight,  Daniel  Ridgway 
LaFarge,  John 


MacCameron,  Robert  Lee 
MacEwen,  Walter 
MacMonnies,  Frederick  William 
Melchers,  J.  Gari 
Millet,  Francis  Davis 
Mosler,  Henry 
Pearce,  Charles  Sprague 
Saint-Gaudens,  Augustus 
Sargent,  John  Singer 
Stewart,  Julius  L. 
Tiffany,  Louis  Comfort 
Vail,  Eugene 
Wentworth,  Cecile  de 
Whistler,  James  A.  McNeill 


16 


MICHIGAN  ARTISTS. 

Barlow,  Myron. = Ionia,  1873 

Church,  Frederick  Stuart Grand  Rapids,  1842 

Couse,  E.  Irving Saginaw,  1866 

Dabo,    Leon Detroit,    1868 

Dabo,    T.    Scott Detroit,    1870 

Foote,  William  Howe.. .— ...Grand  Rapids,  1874 

Frieseke,  Frederic  Carl Owosso,  1874 

Gies,    James   W Detroit,    

Hort-on,  William  Samuel Grand  Rapids,  1865 

Ives,    Percy .....Detroit,    1864 

Melchers,    J.    Gari Detroit,    1860 

Newell,  George  Glen _. Berrien  County,    1870 

Paulus,     Francis    P.. Detroit,     1862 

Perrault,    I.    Marie ...„ Detroit,    

Pitts,    Lendall Detroit,   

Rolshoven,    Julius Detroit,    1858 

Smith,    Letta    Crapo Flint,    1862 

Wenzell,  Albert  B Detroit,   1864 

White,  Thomas  Gilbert Grand  Rapids,  


17 


ABBREVIATIONS. 


P. — painter 

S. — sculptor 

I. — illustrator 

E. — etcher 

Min.  P. — miniature  painter 

W.  C. — water  color 

Arch  rec — Architectural  record 

Art  &  P — Art  and  progress 

Arts  &  D — Arts  and  decoration 

Bkmn — Bookman 

Brush  &  P — Brush  and  pencil 

Canad  M — Canadian  magazine 

Cent — Century 

Chaut — Chautauquan 

Cosmopol — Cosmopolitan 

Cur  lit — Current  literature 

Delin — Delineator 

Harp — Harper's  monthly  magazine 

Ind — Independent 

Int  studio— International  studio 

Mo  illus — Monthly  illustrator 

New  Eng  M — New  England  magazine 

No  Am — North  American  review 

Outl— Outlook 

Pub  opin — Public  opinion 

Quar  ills — Quarterly  illustrator 

R  of  Rs — Review  of  reviews 

Scrib  M — Scribner's  magazine 

W  work — World's  work 


BIOGRAPHICAL  SKETCHES 


Copyright  by  J.  E.  Purdy,  Boston. 

EDWIN  AUSTIN  ABBEY. 


BICGRAPHICAL  SKETCHES. 

Abbey,  Edwin  Austin,  (P.,  I.,  Mural  decorator)  b.  Philadelphia,  Pa., 
April  1,  1852;  d.  London,  England,  August  1,  1911.  At  the  age  of  four 
he  produced  pen  sketches  worthy  of  more  than  passing  attention  and  when 
not  more  than  fourteen.  Harper  accepted  some  of  his  pen  illustrations.  He 
studied  a  year  in  the  Pennsylvania  Academy  of  the  Fine  Arts  and  in  1871, 
went  to  New  York,  where  he  joined  Haiper's  art  staff.  In  1878  he  was  sent 
by  that  publishing  house  to  England  to  gather  material  to  illustrate  Herrick's 
poems.  His  first  painting  in  oil,  "May  day  mom;"  was  exhibited  at  the 
Royal  Academy,  London,  in  1890  and  '  'Fiametta's  song"  in  1894.  He  was 
unexcelled  by  any  living  artist  in  rendering  mediaeval  subjects.  His  notable 
paintings  in  this  line  are  "Richard  III  and  Lady  Anne,"  "Hamlet,"  "Trial 
of  Queen  Katherine,"  "The  penance  of  Eleanor,"  "Daughters  of  King  Lear," 
"Crusaders  sighting  Jerusalem,"  "Columbus  in  the  new  world." 

The  series  of  decorations  in  the  Boston  Public  Librarj-  embodying  the 
stor>'  of  the  "Holy  Grail"  is  the  most  popular  wall-painting  in  America. 
Caffin  says  of  these  scenes:  "They  are  presented  with,  an  archeological 
exactness  of  costume  and  accessories  and  with  much  dramatic  action  and 
regard  for  individual  characterization." 

In  1909  he  was  commissioned  to  paint  the  coronation  scene  of  King  Edward 
VII.  This  painting  now  hangs  in  Windsor  Castle.  He  declined  the  in- 
vitation to  paint  the  ofl&cial  picture  of  Isjng  George's  coronation. 

ilr.  Abbey  was  honored  by  membership  in  the  leading  art  societies  of 
Europe  and  America  and  received  decorations  from  several  European  gov- 
ernments in  recognition  of  his  artistic  ability.  He  had  a  marvelous  techni- 
que, was  an  illustrator  of  the  greatest  power  and  originality  and  has  been 
mentioned  as  one  of  the  four  greatest  draughtsmen  of  the  19th  centur3^ 

Of  his  brushwork,  Heniy  Strachey  says:  "He  knows  how  to  wield  the 
magic  of  the  brush  so  that  his  painting  apart  from  its  color  or  form  is  elo- 
quent." 

At  the  time  of  his  death  he  was  engaged  upon  the  commission  from  the 
state  of  Pennsylvania  for  decorative  panels  in  the  state  capitol  at  Harrisburg; 
less  than  half  of  the  work  had  been  accomplished. 

Royal  Cortissoz,  the  art  critic,  says:  "He  was  veiy  gay  and  likeable, 
you  felt  in  him  honesty  and  force  and  you  could  see  just  how  his  sterling 
nature  poured  itself  into  his  work.  In  it  he  sought  the  truth,  he  wanted 
to  make  it  live;  with  all  his  strength  and  with  all  his  conscience  he  strove 

21 


22 

for  a  reality  that  would  touch  men,  making  them  think  and  feel.     He  achieved 
this  aim  and  made  his  best  monument  in  the  decorations  at  Harrisburg." 

In  a  late  number  of  the  Craftsman,  Louis  A.  Holman,  closes  an  article 
on  the  late  Mr.  Abbey  and  his  work  as  follows:  "I  feel  confident  Abbey 
will  hold  his  place  as  one  of  America's  foremost  colorists,  as  one  of  her  rarest 
draughtsmen,  as  the  most  poetic  painter  of  mediaeval  subjects  in  his  time 
and  as  the  greatest  illustrator  that  America  has  yet  produced." 

Adams,  Herbert,  (S.)  b.  West  Concord,  Vt.,  January  28,  1858.  Studied 
sculpture  five  years  under  Mercie,  Paris.  On  his  return  to  the  United  States 
in  1890,  he  engaged  as  art  instructor  in  the  Pratt  Institute,  Brooklyn,  N.  Y., 
where  for  eight  years  he  criticised  the  modeling.  Is  a  member  of  the  Society 
of  American  Artists  and  vice  president  of  the  National  Academy  of  Design. 
Associate  member  National  Academy  of  Design,  1898;  full  member,  1899. 

Hartmann  says:  "The  best  bust  ever  made  in  America  is,  in  my  opinion, 
Herbert  Adams'  bust  of  his  wife." 

Taft  in  his  "History  of  American  sculpture,"  says:  "In  Mr.  Herbert 
Adams,  the  whole  fraternity  recognizes  a  master  almost  unequaled  in  a 
certain  form  of  sculpture  as  rare  as  it  is  exquisite — the  creation  of  beautiful 

busts  of  women There  is  nothing  so  distinctive  in  his  figures  of 

men." 

Mr.  Adams'  experiments  in  coloring  his  busts  are  exceedingly  interesting. 
He  has  sho^ATi  a  beautiful  color  bust  of  "St.  Agnes,"  a  "Portrait  of  a  young 
lady"  in  tinted  marble  in  bronze  decorations,  and  the  "Rabbi's  daughter" 
in  pink  marble,  with  dress  and  ample  wide  spread  sleeves  in  wood  with  gold 
decorations.  "It  is  in  his  choice  and  treatment  of  these  heads  that  Mr. 
Adams  reveals  his  true  personality."     (Lorado  Taft.) 

In  his  love  of  details  he  is  closely  akin  to  M.  Dampt  and  M.  Riviere-Theo- 
dore, the  French  sculptors. 

Ahrens,  Ellen  Wetherald,  (Min  P.,  1)  b.  Baltimore,  Md.,  June  6,  1859. 
Pupil  Boston  Museum  of  Fine  Arts  under  Grundemann;  Pennsylvania  Aca- 
demy of  the  Fine  Arts  under  Eakins;  Drexel  Institute  under  Pyle. 

Received  second  Toppan  prize  School  of  Pennsylvania  Academy  of  the 
Fine  Arts,  1884,  and  other  prizes  for  oil  painting  and  miniatures. 

Aid,  George  Charles,  (Min  P.)  b.  Quincy,  111.  A  pupil  of  Laurens  and 
Benjamin-Constant  in  Paris.  Received  silver  medal  at  St.  Louis  Exposition, 
1904.  A  member  of  the  Paris  American  Artists  Association  and  the  American 
Miniature  Painters. 

AiTKK.v,  Robert  I.,  (S.)  b.  San  Francisco,  California,^! ay  8,  1878.  Pupil 
of  Mark  Hopkins  In.stitute,  San  Francisco.  Won  the  Barnett  prize  of  the 
National  Academy  of  Design,  1908.     Is  a  member  of  the  National  Sculpture 


23 

Society  and  was  elected  an  associate  member  of  the  National  Academy  in 
1909. 

Mr.  Aitken  began  his  art  work  by  painting.  After  studying  sculpture 
for  six  months  under  a  French  master,  he  decided  to  work  alone.  Later  he 
went  to  Paris.  His  monuments  to  the  navy  and  to  President  McKinley  are 
among  the  finest  works  of  art  in  San  Francisco.  He  has  completed  a  statue 
of  the  late  Frederic  Remington  to  be  placed  at  the  new  station  of  the  Boston, 
Westchester  &  N.  Y.  R.  R.,  which  runs  through  the  Remington  property 
at  New  Rochelle,  N.  Y.     (American  Club  Woman,  Nov.,  1912.) 

Alexander,  John  White,  (P.,  Mural  P.)  b.  Allegheny,  Pa.,  October  7, 
1856.  Pupil  of  Prof.  Benczur  of  the  Royal  Academy,  Munich,  and  of  Frank 
Duveneck  in  INIunich,  Venice  and  Florence.  Has  been  awarded  many  medals 
and  won  much  distinction  at  home  and  abroad.  Was  elected  chevalier  of 
the  Legion  of  Honor,  1901 ;  is  member  of  Societe  Nationale  des  Beaux  Arts, 
Paris,  Munich  Secessionists,  International  Society  of  Artists,  London,  and 
Vienna  Society  of  Painters;  president  of  the  National  Society  of  Mural  Paint- 
ers; associate  member  of  National  Academy  of  Design,  1901;  full  member, 
1902,  and  later  president. 

Mr.  Alexander  is  a  painter  of  portraits,  of  mural  decorations  and  of  many 
figure  pictures  with  a  distinct  decorative  purpose.  His  "Woman  in  gray" 
hangs  in  the  Luxembourg;  ''The  green  bow"  and  "The  picnic"  have  also 
been  purchased  by  the  French  government.  His  "Pot  of  basil"  reveals 
his  talent  for  ideal  figure  subjects.  Of  his  "Sunlight"  which  was  awarded 
first-class  medal  at  the  1911  spring  exhibition  of  the  Carnegie  Institute,  it 
was  said:  "For  grace  of  lines,  relative  beauty  of  color  and  tone,  and  illusion 
of  light — sheer  necromancy  of  the  painter — this  work  is  without  a  peer  in 
the  exhibition." 

Other  characteristic  pictures  are: 

"The  mirror "  "A  butterfly " 

" Woman  in  pink "  "A  rose " 

"Flowers"  "Pandora" 

"  The  piano  "  "  Quiet  hour  " 

"A  summer  day"  "In  the  cafe" 

" A  ray  of  sunHght "  "A  little  mother " 

"  Peonies  "  "  Study  in  black  and  white  " 

"  The  blue  bowl "  "  The  ring  " 

"Memories"  "Autumn" 

"Tenth  muse"  "A  meadow  flower" 

"A  toiler"  "The  gossip" 

His  artistic  instinct  is  decorative,  but  his  portraits  of  Mrs.  Alexander, 
August  Rodin,  Walt  Whitman,  Prof.  Chandler  of  Columbia,  Mrs.  Wheaton 
and  others,  show  he  can  also  master  character. 


24 

Armand  Dayot,  the  French  critic,  says:  "From  simply  caressing  the 
canvas,  his  brush  has  become  penetrating  and  the  pictures  he  now  shows 
us  possess — and  this  we  consider  the  highest  praise  that  can  be  bestowed 
upon  his  talent — not  only  the  charm  of  life  but  also  an  intensity  of  thought." 

"He  sees,  as  did  Constable,  only  the  beautiful,  and  the  beautiful  life  is 
normal." 

His  mural  paintings,  "Apotheosis  of  Pittsburgh"  in  the  Carnegie  Institute, 
and  "The  evolution  of  the  book"  in  the  Library  of  Congress  (both  represent 
the  glorification  of  labor)  are  among  the  noteworthy  achievements  of  this 
branch  of  art  in  America. 

His  combination  of  piquancy  of  form  and  piquancy  of  color  is  known  as 
the  "Alexander  liquid  style."  "This  liquidity  is  simply  music  expressed 
in  terms  of  painting."  With  Mr.  Alexander  the  real  subject  is  a  pictorial 
harmony  based  on  the  human  form.     (Outl.  95:171.) 

"The  distinguishing  traits  of  Mr.  John  W.  Alexander  as  a  painter  of  por- 
traits are  quality  of  line,  candor  of  impression  and  novelty  of  tone."  (Har- 
rison S.  Morris,  Scrib.  25:340.) 

Allston,  Washington,  (P.)  b.  Waccamaw,  S.  C,  November  5,  1779;  d. 
Cambridge,  Mass.,  July  9,  1843.  At  six  years  of  age  his  favorite  amuse- 
ment was  making  little  landscapes  about  the  roots  of  an  old  tree  near  his 
home.  In  1800  he  graduated  from  Harvard  and  in  company  with  Edward 
Green  Malbone  soon  after  went  to  London  where  through  the  assistance  of 
Benjamin  West,  who  was  then  president  of  the  Royal  Academy,  he  studied 
at  that  school.  In  1804  he  visited  Paris  and  spent  four  years  in  Rome  where 
he  obtained  the  name  of  the  "American  Titian." 

His  first  work  of  importance,  "The  dead  man  revived"  gained  a  prize 
of  200  guineas  from  the  British  Institute  and  was  purchased  by  the  Pennsyl- 
vania Academy  of  the  Fine  Arts.  This  was  followed  by  "St.  Peter  liberated 
by  the  angel,"  "Uriel  and  the  sun,"  "Jacob's  dream"  and  several  smaller 
pictures  which  are  in  private  galleries  in  England. 

In  1818  he  opened  a  studio  in  Boston  and  spent  the  remainder  of  his  life 
in  his  native  country.  The  most  choice  of  his  works  were  done  after  he 
returned  to  the  United  States,  and  are  now  in  Boston.  His  wonderful  wealth 
of  color  was  his  great  distinction. 

AUston's  reputation  as  a  poet  and  novelist  was  second  only  to  that  he 
enjoyed  as  a  painter. 

Anschutz,  Thomas  Pollock,  (P.)  b.  Newport,  Ky.,  October  5,  1851;  d. 
Fort  Wa.shington,  Pa.,  June  16,  1912.  Studied  art  at  the  National  Academy 
of  Design,  New  York,  and  at  the  Pennsylvania  Academy  of  the  Fine  Arts, 
Philadelphia;  also  with  Doucet  and  Bouguereau  in  Paris.  Was  a  member 
of  the  faculty  of  the  Pennsylvania  Academy  of  the  Fine  Arts,  and  had  served 
the  institution  for  an  uninterrupted  period  of  thirty-two  years.     Received 


25 

medals  and  prizes  for  his  canvases  shown  in  competitive  exhibitions  and 
was  the  painter  of  the  popular  Sketch  Club  portraits  which  form  the  artistic 
frieze  of  the  club  room  in  Philadelphia. 

Mr.  Anschutz  painted  in  pastels,  water  color  and  oils  but  devoted  his  time 
mainly  to  teaching.  As  a  teacher  his  popularity  was  almost  without  prece- 
dent. The  Pennsylvania  Academy  of  the  Fine  Arts  owns  two  of  his  finest 
works:     "The  Tanagra"  and  "Becky  Sharp." 

Armstrong,  D.  Maitland,  (P.,  Stained  glass  designer,)  b.  Newburg,  N.  Y., 
June  12,  1836.  Graduated  at  Trinity  College,  Hartford,  Conn.,  1858;  prac- 
ticed law  a  few  years.  Studied  art  in  Paris  and  Rome.  Was  United  States 
Consul  to  Italy.  Director  American  Art  Department,  Paris  Exposition, 
1878.  Chevalier  of  the  Legion  of  Honor  of  France.  IMember  of  the  Society 
American  Artists,  1879;  also  of  Architectural  League.  Associate  member 
National  Academy,  1906. 

Mr.  Armstrong  is  now  a  professional  decorative  artist,  speciaUzing  in 
stained  glass  work.  The  round  dome  of  opal  and  amber  glass,  also  the  side 
windows  of  the  court  room  in  the  New  York  appellate  court  building  are 
his  work,  and  rank  with  the  best  in  this  line  of  art  produced  in  America. 

Backer,  Otto,  (E.)  b.  Cleveland,  O.,  March  31,  1856;  d.  Lawrence  Park 
Bronxville,  N.  Y.,  August  16,  1909.  Began  his  career  as  an  art  student  in 
1874.  In  September,  1874,  he  went  abroad  and  spent  some  time  at  Munich, 
from  there  he  went  to  Venice  with  Mr.  Duveneck  and  his  band  of  pupils. 
His  first  experiments  in  etching  were  made  in  1876,  and  were  not  successful. 
He  established  himself  in  Europe  and  again  took  up  the  work  in  1879,  this 
time  with  success. 

Member  of  Society  of  Painter-Etchers,  London;  associate  member  of 
National  Academy  of  Design,  1906. 

His  first  etchings  were  mostly  of  picturesque  German  villages  and  bits; 
but  later  works  portray  the  beauties  of  Venice. 

He  has  produced  a  large  plate  of  Milan  cathedral;  one  of  the  interior  of 
Saint  Marks  and  another  of  the  Grand  canal,  Venice. 

Mr.  Bacher  was  one  of  our  ablest  etchers.  Sir  Seymour  Haden  said  that 
his  series  of  Venetian  etchings  evinced  a  strong  artistic  feeling  and  was 
characterized  by  "bold  and  painter-like  treatment."  The  London  Times 
speaks  of  him  as  "a  most  formidable  rival  to  Whistler." 

Knaufft  says:  "Celebrated  as  an  etcher,  draws  landscape  in  pen  and 
ink  that  nearly  equals  his  etching,  and  he  is  unsurpassed  in  pen  renderings 
of  still  life." 

UnUke  Mr.  Duveneck,  he  dwells  more  upon  the  human  than  upon  the 
architectural  elements  in  the  Venetian  panorama.  His  most  character- 
istic plates  show  work  people  of  the  sea-city  at  their  labors,  show  lace-makers 
and  bead  stringers  and  washerwomen,  either  in  some  dim  interior  or  in  some 
sunny  courtyard,  or  under  some  shadowy  archway  by  the  water." 


26 

Baer,  William  J.,  (Min  P.)  b.  Cincinnati,  O.,  Januaiy  29,  1860.  Pupil 
of  I^oefftz  in  ^lunich  Royal  Academy.  The  histoiy  of  miniature-painting 
of  the  present  generation  in  this  country  began  with  the  woi-k  done  in  this 
field  by  Miss  Laura  C.  Hills  and  ^Ir.  ^^■illiam  J.  Baer,  both  of  whom  were 
inspired  by  a  love  of  small  things,  and  admiration  for  the  paintings  of  the  old 
masters  which  is  more  or  less  reflected  in  their  work.  There  was  a  revival 
of  a  demand  for  portraits  on  ivory  and  in  1899  the  American  Society  of 
Miniature  Painters,  was  founded. 

In  ^Ir.  Baer's  "Primavera"  he  combines  many  of  the  best  qualities  of 
a  good  oil  painting  with  a  luminosity  and  brilliancy  of  texture  only  to  be 
achieved  on  ivory.  This  and  such  productions  as  his  "Golden  hours"  will 
no  doubt  in  time  rank  with  the  best  work  of  iVIalbone,  while  his  only  rivals 
in  portraiture  today  are  Josephi,  Miss  Beckington  and  the  late  Theodora 
W.  Thayer.     (Int.  studio  33  :c.) 

"In  his  ideal  pictures,  such  as  "A  girl  Avith  a  rabbit"  he  accomplishes 
much  of  his  best  work.     (Critic  47:522.) 

His  flesh  tints  are  exquisite. 

He  has  chosen  to  erect  a  very  high  standard  in  miniature  painting. 

At  a  recent  exhibition  of  the  American  Society  of  Miniature  Painters, 
"Mr.  Baer  showed  one  large  ivory — a  full-length  female  figure,  entitled 
"Egeria"  painted  in  richer,  heavier  colors  than  is  his  custom,  also  four 
small  portraits  done  in  his  usual  masterly  style.  The  likeness  of  Mrs.  Wil- 
liam Arrindell  Shearson  in  lavender  and  white  lace  revealed  his  skill  in 
exquisite  finish  and  delicac}'  of  touch."     (Int.  studio  43:sup.  xxi.) 

Baker,  Elizabeth  Goavdy,  (P.,  :M:  n.  P.)  b.  Xenia,  O.,  1860.  Pupil  of 
the  Cooper  Union,  Art  Students'  League  of  New  York,  New  York  School  of 
Art,  Pennsylvania  Academy  of  the  Fine  Arts,  Cowles  Art  School,  Boston; 
under  Frederick  Freer,  William  ^I.  Chase  and  H.  Siddons  Mowbray. 

Received  medal  at  Cooper  Union;  is  a  member  of  the  Boston  Art  Students' 
Association  and  Art  Workers  Club  for  Women,  New  York. 

Mrs.  Baker's  specialty  is  portraits  in  water-color.  She  is  especially  suc- 
cessful with  pictures  of  children. 

In  her  work  she  uses  a  heavy  imported  paper  and  claims  that  her  method 
enables  her  to  get  the  strength  of  oil  Avith  the  daintiness  of  Avater-colors. 

Mrs.  Baker  rarely  exhibits  and  her  portraits  are  in  private  homes. 

liAKKK,  Kllex  Kkndall  (Mrs.  Harry  Thompson),  (P.)  b.  Fairfield,  N.  Y. 
Studied  in  I'aris  under  (,'harlcs  Miiller,  Paul  Soyer,  and  Harry  Thompson, 
an  English  artist,  whom  she  married  in  1896. 

Mrs.  Thompscm  has  exhil)ited  in  the  Paris  salons  since  1879,  also  at  ^Munich, 
St.  Petersburg,  New  York,  Philadelphia,  Chicago  and  Detroit,  and  is  repre- 
sented in  liuffalo,  Detroit  and  Minneapolis. 

A  characteristic  painting  is  "The  young  artist." 


27 

Baker,  Martha  Susan,  (Min  P.)  b.  Evansville,  Ind.,  December  25,  1871. 
Pupil  of  the  Chicago  Art  Institute.  Won  ^Municipal  Art  League  Purchase 
prize.  Art  Institute,  Chicago,  1895;  first  prize  for  miniature  in  the  Arche 
salon  Chicago,  1897;  bronze  medal  for  miniature  painting  at  St.  Louis  Ex- 
position 1904;  silver  medal  Art  Institute,  Chicago.  1905.  Received  honor- 
able mention  for  oil  painting  at  the  Carnegie  Institute,  Pittsburgh,  1904. 
A  well-known  writer  in  a  review  of  her  work,  says:  ''Her  subsequent  pro- 
gress has  been  as  steady  and  brilliant  as  it  has  been  well-desened."  She  is 
now  instructor  both  in  the  Art  Institute  and  at  the  Academy  of  Fine  Arts. 
She  was  one  of  the  four  Chicago  artists  represented  at  the  Paris  Exposition 
in  1900. 

At  the  12th  annual  exhibition  of  the  American  Society  of  Miniature  Painters, 
she  exhibited  a  large  composition  entitled  "Springtime" — a  nude  child 
pla}-ing  with  chrysanthemums  on  the  floor.  This  showed  the  artist's  ability 
to  cope  successfully  with  a  difficult  subject  and  also  retain  the  fine  propor- 
tions of  her  material.  Two  small  heads  were  also  exhibited — "  blaster 
Gilford  Ewing"  and  "Miss  Marion  Tooker"  painted  against  pure  ivorj' 
backgi'ound.  Although  less  ambitious,  these  miniatures  were  more  repre- 
sentative of  ^liss  Baker  s  gift  for  strong  penetration  of  character  and  showed 
her  indixidual  technique. 

She  has  also  done  some  mural  work — decorations  in  the  hall  of  the  Fine 
Arts  Building,  Chicago. 

A  gem  in  water-colors  is  her  "Lake  front — Chicago." 

"Her  style  is  characterized  by  an  almost  mascuUne  force  and  directness, 
a  naive  obedience  to  truth  and  a  deUghtful  simplicity.  Her  knowledge  of 
form  is  ably  expressed  in  her  unerring  draughtmanship."  (Int.  studio 
21:85.) 

Ball,  Thomas,  (S.)  b.  Charleston,  Mass.,  June  3,  1819;  d.  December  11, 
1911.  His  first  studies  were  devoted  to  portrait  painting  and  his  most 
celebrated  painting  is  a  full  length  portrait  of  Daniel  Webster.  He  also 
painted  several  scripture  subjects  which  were  highly  praised  for  fine  color- 
ing. 

Among  his  first  works  in  sculpture  was  a  small  bust  of  Jenny  Lind.  After 
studying  in  Europe  he  returned  to  America  and  made  busts  of  Rufus  Choate, 
statuettes  of  Webster  and  Clay  and  the  equestrian  statue  of  Washington  for 
Boston.  ;Mr.  Ball  returned  to  Florence,  Italy,  in  1865  where  he  resided 
until  1897.  His  works  to  be  considered  his  best  are  the  colossal  Webster 
in  Central  Park,  New  York,  Edwin  Forrest  as  "Coriolanus"  in  Philadelphia, 
Governor  John  A.  Andrews  of  Massachusetts  in  Boston  and  the  gi'oup  "  Eman- 
cipation" in  Washington,  D.  C. 

As  a  musician,  Mr.  Ball  ranked  high  and  for  years  was  knoA\Ti  as  a  famous 
baritone  singer.  During  his  early  struggles  in  art  he  supported  liimself 
entirely  by  his  musical  talents. 


28 

Ballin,  Hugo,  (Mural  P.)  b.  New  York  City,  1879.  His  father  was  a 
manufacturer  but  his  grandfather  had  been  a  court  artist  and  very  early 
he  was  encouraged  to  take  up  painting.  After  studying  at  the  Art  Students' 
League  of  New  York,  he  went  abroad  to  continue  his  art  studies  in  Italy. 
While  there  he  was  privileged  to  travel  with  Robert  Blum  and  to  study  with 
him  the  mural  decorations  in  Lombardy  and  Umbria.  Since  his  return  to 
the  United  States  he  has  won  many  medals  and  prizes.  Is  a  member  of  the 
Society  of  American  Artists;  associate  member  National  Academy  of  De- 
sign, 1906.  His  works  have  been  reproduced  in  the  Critic,  Century  and 
International  studio. 

In  writing  of  his  art,  H.  St.  G.  (Critic  47:497)  says:  "Though  in  theory 
Ballin  lays  greater  stress  on  color  and  composition  than  on  draAving  in  decora- 
tive work,  yet  for  the  most  part  in  practice  he  applies  his  skill  as  a  draftsman 

to  aid  in  conveying  his  museful  conceptions His  drawing  discloses 

in  place  of  assertion  an  elusiveness  and  insinuation  of  contour.  The  fluency 
of  his  lines  and  the  masses  of  his  broad  and  simple  drapery  never  become 
angular  or  extravagant  or  pale." 

Barlow,  Myron,  (P.)  b.  Ionia,  Michigan,  1873.  Pupil  of  Art  Institute, 
Chicago;  G6rome  and  Ecole  des  Beaux  Arts  in  Paris.  Received  his  first 
medal  in  1894  when  he  exhibited  at  the  Academie  Colarossi.  He  w^as  elected 
a  member  of  the  Soci^te  Nationale  des  Beaux  Arts  in  1907  and  was  the  only 
American  to  receive  the  honor  at  that  time.  He  is  a  member  of  the  Paris 
American  Artists  Association. 

One  of  his  salon  pictures,  "The  fisherman's  pride"  has  brought  Mr.  Barlow 
much  favorable  comment. 

Lena  M.  McCauley  in  writing  of  the  twenty-third  exhibition  of  the  Chicago 
Art  Institute  (Art  and  Progress  2:49),  says:  "The  blue-toned  interiors 
with  figures — "Fatigue,"  "A  chat,"  and  "Embarrassing  question," — by 
Myron  Barlow,  have  been  displayed  with  discriminating  tact  which  permitted 
none  of  their  delicacy  to  be  lost.  They  are  novelties  in  color  but  so  har- 
monious and  individual  that  they  are  a  pleasure  to  look  upon." 

E.  A.  Taylor  in  writing  of  American  artists  in  Paris  (Int.  Studio  46:290) 
says  of  Mr.  liarlow's  art:     "To  simplify  an  understanding  of  his  art,  I  might 

say  he  paints  the  luxury  of  the  poor Mr.  Barlow  designs  his  work; 

he  is  not  a  slave  to  nature  ready-made;  his  work  is  always  decorative,  not 
decorated,  and  his  color,  broad  and  simple;  though  bright  at  times,  it  is 
never  disturbing  by  a  lack  of  harmony." 

Mr.  Barlow's  home  is  at  Etaples,  France,  where  he  finds  his  favorite  sub- 
jects— the  French  peasants. 

Barnard,  George  Grev,  (S.)  b.  Bellefonte,  Pa.,  May  24,  1863.  As  a 
youth  he  developed  a  taste  for  natural  history;  became  familiar  with  birds 
and  their  habits  and,  self-taught,  attained  skill  as  a  taxidermist.     Appren- 


29 

ticed  to  a  local  jeweler,  he  became  a  skilled  letterer  and  engraver.  At  the 
age  of  sixteen  he  went  to  Chicago  and  entered  the  Chicago  Art  Institute. 
With  $350  which  he  was  paid  for  a  portrait  bust,  he  went  to  Paris  and  studied 
in  the  Ateher  Cavelier.  After  three  years  he  took  up  a  studio  at  Vaugirard, 
near  the  port  of  Versailles,  where  in  1885  he  finished  the  "Boy"  in  marble 
and  in  1887  began  the  "Brotherly  love"  for  a  Norwegian  monument.  He 
began  the  group  called  "Two  natures"  (suggested  by  a  line  from  one  of 
Victor  Hugo's  poems)  in  1890,  and  put  it  into  marble  in  1894.  That  j^ear 
his  work  was  exhibited  in  the  salon  of  the  Champs  de  Mars  and  he  was  im- 
mediately elected  an  associate  of  the  Soci^te  Nationale  des  Beaux  Arts. 

The  Figaro  said:  "Mr.  Barnard  is  possessed  of  verj'^  great  qualities,  the 
first  of  which  is  the  freshness  of  eternal  youth." 

M.  Thiebault-Sisson,  art  critic  of  the  Temps,  said:  "We  have  a  new- 
comer, George  Grey  Barnard,  who  possesses  all  the  qualities  of  a  great  master." 

Mr.  Barnard  returned  to  the  United  States  in  1896  and  made  a  public 
display  of  his  works  in  the  Logerot  Gardens,  New  York.  His  "  Pan "  placed 
in  Central  Park,  New  York,  has  been  pronounced  "one  of  the  strongest  and 
most  original  things  yet  done  in  sculpture."  "The  hewer"  shows  not  only 
sculptural  "bigness"  but  "reveals  an  unusual  emphasis  in  the  matter  of 
straight  lines  and  planes,  which  gives  it  remarkable  carrying  power."  The 
"Rose  maiden,"  a  memorial  figure,  is  a  work  in  which  a  new  and  tender 
element  has  entered.  "The  figure  is  a  poem  of  sweetness  and  mysterj-,  and 
grows  fragrant  with  the  dew  of  spring." 

William  A.  Coffin  says:  "He  is  an  analyst  in  thought,  and  a  synthesist 
in  execution.     His  work  shows  decided  psychological  bent.     He  apparently 

cares  more  for  force  and  vitahty  than  for  so-called  beauty The 

splendid  vigor  and  pure  artistic  power  of  his  work  entitles  it  to  be  received 
with  enthusiasm." 

His  latest  triumph  is  his  statues — two  groups  composed  of  more  than 
thirty  heroic  figures — for  the  facade  of  the  Pennsylvania  capitol. 

Bartlett,  Paul  Waylaxd,  (S.)  b.  New  Haven,  Conn.,  1865.  As  a  boy 
modeling  in  the  garden  of  his  home  at  Marly,  France,  he  attracted  the  at- 
tention of  the  famous  sculptor  Fremiet  who  gave  him  instructions  in  his 
class  in  animal  sculpture  and  drawing  in  the  Jardin  des  Plantes  in  Paris. 
At  the  age  of  fourteen  he  exhibited  in  the  salon  a  bust  of  his  grandmother, 
and  a  year  later  he  entered  the  Ecole  des  Beaux  Arts;  at  twenty-two  his 
group  "The  Bohemian  bear  tamer"  was  shown  in  the  salon.  He  did  some 
remarkable  things  in  bronze  casting,  and  a  collection  of  his  bronzes  was 
exhibited  in  the  salon  of  1895  and  won  for  him  honors.  Later  achievements 
occupy  places  of  honor  in  the  United  States.  In  the  reading  room  of  the 
Librar}'  of  Congress  are  three  well-knowTi  statues  by  him — "Law,"  "Colum- 
bus" and  "Michael  Angelo."  Of  the  last  mentioned,  the  editor  of  "The 
artist,"  says:  "One  of  the  noblest  modem  statues  in  America  is  undoubt- 
edly that  of  ^lichael  Angelo  by  Paul  Wa)dand  Bartlett,  in  the 

Library  of  Congress." 


30 

His  "  Dying  lion  "  is  a  work  of  appealing  strength  and  beauty.  His  statue 
of  General  Warren,  the  early  martyr  of  the  revolution,  is  at  Roxbury.  The 
"Death  of  Warren"  in  low  relief  on  the  pedestal,  has  been  called  "a  funeral 
march  in  bronze."  His  equestrian  statue  of  Lafayette,  which  the  school 
children  of  the  United  States  presented  to  France,  stands  in  the  court  of  the 
Tuileries,  "the  most  coveted  site  in  Paris." 

Carries,  the  French  potter-sculptor,  says  of  him:  "He  reminds  me  of 
those  artesans  of  the  renaissance  who  had  nothing  but  art  in  view  and  mind." 
(New  England  M.  33:369.) 

"Mr.  Bartlett  is  primarily  a  sculptor  of  the  specific.  What  he  most  de- 
lights in  is  the  presentation  of  actual  characters  of  history  or  of  definite 
emotions."     (Craftsman  16:437.) 

The  French  have  showered  upon  this  American  sculptor  nearly  every 
honor  in  their  gift ;  he  was  elected  chevalier  of  the  Legion  of  Honor  at  the  age 
of  thirty,  since  which  time  his  works  have  been  hors  concours  in  the  Paris 
salons. 

Baxter,  Martha  Wheeler,  (Min.  P.,  S.)  b.  Vermont,  1869.  A  pupil 
of  the  Pennsylvania  Academy  of  the  Fine  Arts  and  the  Art  Students'  League 
of  New  York  under  Mowbray,  Cox,  Beckwith  and  F.  V.  DuMond.  Studied 
miniature  painting  under  ]\Ime.  de  Billemont-Chardon  and  Mile.  Schmitt 
in  Paris  and  Mme.  Behenna  in  London. 

Received  honorable  mention  at  the  Paris  Exhibition  of  1900.     Is  a  teacher. 

Bayliss,  Lillian,  (Min.  P.)  Has  received  recognition  as  a  miniature 
painter.     Her  ivory  work  of  Madame  Gabrielli  displays  a  distinct  power  of 

characterization  As  a  whole  she  produces  results  peculiar  for  a 

refinement,  a  simplicity  of  tone  and  surface  and  a  dignity  of  the  use  of  color. 
(Critic  47:527.) 

Beach,  Chester,  (S.)  b.  San  Francisco,  Cal.,  1881.  Pupil  of  Verlet  and 
Roland  in  Paris.  Received  Barnett  prize  N.  A.  D.,  1909.  Associate  member 
National  Academy,  1908;  also  member  Paris  American  Artists  Association 
and  National  Sculpture  Society. 

Of  his  small  bronzes,  a  critic  writes:  "His  expression  is  symbolic  to  a 
considerable  degree  and  is  the  outcome  of  a  serious  and  thoughtful  mind. 
His  statuettes  suggest  beautiful  pictures  that  direct  themselves  principally 
to  the  imagination  and  by  their  gentle  and  graceful  motion  remind  one  of 
passages  of  music  beautifully  phrased  and  perfect  in  rhythm.  (Arts.  &  D. 
2:106.) 

Beatty,  John  W.,  (E.)  b.  Pittsburgh,  Pa.,  July  8,  1851.  Director  of  Fine 
Arts,  (Carnegie  Institute,  Pittsburgh  since  1896.  Student  of  Munich  Academy 
of  Fine  Arts.     Member  jury  on  painting  for  Pennsylvania  and  New  York 


31 

at  Columbian  Exposition,  1893,  member  National  advison-  board  Paris 
Exposition,  1900,  fine  arts  committee  Pan-American  Exposition,  Buffalo, 
1901,  and  National  advisor}-  committee  St.  Louis  Exposition,  1904. 

Executed  the  etching  "Return  to  labor."  His  two  well-known  landscapes 
are  ''Plymouth  hills"  and  "Chiltonville."  Author:  "An  appreciation  of 
Augustus  Saint-Gaudens." 

Beaux,  Cecilia,  (P.)  b.  Philadelphia,  Pa.,  1863,  and  is  of  French  descent. 
^Irs.  Thomas  A.  Jan\ier  gave  her  her  first  lessons  in  drawing;  she  was  also 
a  pupil  of  William  Sartain  and  won  general  recognition  as  an  able  portrait 
painter.  The  first  of  her  works  to  bring  her  fame  was  "Last  days  of  in- 
fancy," which  was  exhibited  at  the  Philadelphia  Academy  in  1885,  and  won 
the  prize  for  the  best  painting  by  a  resident  woman  artist;  won  the  same 
prize  in  1887.  1891,  1892.  :Miss  Beaux  spent  the  winter  of  1889-90  in  Paris 
studying  in  the  life  classes  of  the  Academic  Julien  under  Bouguereau,  Robert- 
Fleun-  and  Benjamin-Constant;  also  at  Colarossi's  where  her  dra^^ings  were 
criticised  by  Courtois  and  Dagnan-Bouveret.  Spending  the  summer  at 
Concarneau.  she  was  aided  by  suggestions  from  Alexander  Harrison  and 
Charles  Lasar.  After  a  visit  to  Italy  and  England  she  returned  to  Phil- 
adelphia. In  1893  she  won  the  gold  medal  of  the  Philadelphia  Art  Club  for 
the  portrait  of  Dr.  Grier;  also  the  Dodge  prize  of  the  National  Academy  of 
Design  for  her  portrait  of  ilrs.  Stetson.  Miss  Beaux  was  the  seventh  woman 
to  whom  the  honor  of  an  election  to  membership  in  the  Societj-  of  Ameri- 
can Artists  was  awarded.  In  1894  she  was  elected  associate  of  the  National 
Academy  of  Design,  being  the  third  woman  to  gain  admission;  elected  full 
member  in  1902.  She  is  recognized  here  and  abroad  as  the  most  distinguished 
of  living  women  painters. 

To  the  salon  of  the  Champs  de  ^lai-s,  Paris,  1896,  she  sent  six  paintings. 
These  were  hung  in  a  group,  an  unusual  distinction  and  brought  to  her  an 
election  as  an  associate  of  the  Societe  Nationale  des  Beaux  Arts.  (Nat. 
Cy.  Am.  Biog.) 

Her  figures  are  usually  represented  in  repose  or  at  least  in  arrested  action, 
but  "Dorothea  and  Francesca"  shows  her  power  of  rendermg  motions  with 
equal  success.  Her  portrait  of  Mrs.  Roosevelt  is  one  of  her  happiest  creations. 
"The  dreamer,"  "New  England  woman,"  "Sita  and  Sarita,"  "The  C}Tithia," 
"Emesta  and  her  Uttle  brother,"  are  all  portraits.  ^liss  Beaux's  portraits 
are  never  composite;  they  are  not  in  any  sense  t\^es.  Her  individuality 
is  developed  in  two  characteristics:  brilliancy  and  refinement.  (Int. 
Studio  41 :337.) 

Her  "Banner  bearer"  is  referred  to  as  "a  work  of  compelling  strength  and 
convincing  simplicity — a  work  utterly  without  mannerism." 

Giles  Edgerton  says:  "It  is  not  once  in  a  generation  that  a  woman  so 
subverts  her  essentially  characteristic  outlook  on  life  to  her  work  that  her 
art  impulse  becomes  universal  as  that  of  the  greatest  men  often  is.     One 


32 

feels  that  Cecilia  Beaux  has  done  this  in  her  portrait  work,  as  George  Eliot 
did  in  her  stories." 

Beckington,  Alice,  (Min.  P.)  b.  St.  Charles,  Mo.,  July  30,  1868.  Pupil 
of  Art  Students'  League,  New  York;  Lefebvre,  Benjamin-Constant  and 
Lazar,  Paris. 

Received  honorable  mention  Pan-American  Ex.  Buffalo,  1901;  bronze 
medal  St.  Louis  Ex.  1904.  Mem.  N.  Y.  Woman's  Art  Club,  also  American 
Society  Miniature  Painters.     Instructor  at  Art  Students'  League,  New  York. 

Miss  Beckington's  work  reveals  a  feeling  for  the  impressionistic  and  a 
charming  application  of  it.  The  portrait  of  Mrs.  Buford  is  the  best  example 
of  her  work. 

"She  treats  her  sitters  with  a  clear  directness  and  absence  of  nonsense, 

selecting  and  refining  her  essentials  with  sanity  and  taste 

Her  portraits  increase  steadily  in  naturalness  and  an  unwavering  yet  delicate 
definition  of  facial  character.     (Critic.  47:525.) 

Beckwith,  James  Carroll,  (P.)  b.  Hannibal,  Mo.,  September  23,  1852. 
Studied  painting  in  Chicago  where  his  father  was  a  merchant.  Began  his 
art  studies  in  1868  under  Walter  Shirlaw  and  in  1873  entered  the  studio 
of  Carolus-Duran,  subsequently  studying  at  the  Ecole  des  Beaux  Arts.  Re- 
turned to  the  United  States  in  1878,  opened  a  studio  in  New  York  and  began 
his  profession  as  a  portrait  painter.  He  was  at  once  elected  an  instructor 
in  the  Art  Students'  League.  An  associate  member  of  the  National  Academy, 
1886;  academician,  1894. 

Mr.  Beckwith  received  honorable  mention  in  the  Paris  salon  of  1887, 
and  has  painted  portraits  of  many  distinguished  residents  of  New  York. 
His  works  are  always  signed  "Carroll  Beckwith." 

At  the  Paris  Exhibition  in  1878,  he  exhibited  "The  falconer"  painted 
when  he  was  only  twenty-five  years  old.  His  portrait  of  Mrs.  R.  H.  Mc- 
Curdy,  shown  at  the  Academy  Exhibition  of  1879,  gave  him  a  definite  posi- 
tion among  the  painters  of  New  York;  that  of  Captain  Joseph  Lentilhon, 
exhibited  in  the  Paris  salon  of  1887  and  at  the  Universal  Exposition  of  1889, 
received  awards  in  both  cases.  His  picture  "The  authoress"  has  been 
called  a  modem  Mona  Lisa.  In  "A  baptism  at  Onteora"  all  the  figures  are 
portraits,  and  the  artist  and  his  wife  are  viewing  the  procession  from  the 
shadow  of  the  chimney  to  the  right. 

Mr.  Beckwith's  skill  in  figure  drawing  is  shown  in  the  following: 

"  La  Cigale  "  "  Under  the  lilacs  " 

" The  nautilus "  "The  Christian  martyr " 

"  Danse  antique  "  "  Mother  and  child  " 

" The  awakening "  "The  blacksmith " 

"The  falconer"  "Judith" 

"Azalia" 


33 

"Mr.  Beckwith's  work  is  distinguished  by  a  breadth  of  style  and  an  un- 
erring grace  which  is  rarely  met  with  outside  of  continental  schools."  (Ameri- 
can artists.) 

Belcher,  Hilda,  (P.)  b.  Pittsford,  Vermont.  Studied  at  the  New  York 
School  of  Art. 

The  International  Studio  (46:237)  writes  of  her  "Little  Boston  girl": 
It  is  one  of  those  delightful  portrayals  of  the  ingenuous  child  character  that 
are  always  acceptable  as  subjects  of  the  painter's  analj'tical  study." 

A  few  of  her  best  paintings  are : 

"Sibyl"  "Unrepentant" 

"The  checkered  dress"  "Young  girl  in  white" 

"  Portrait  of  Miss  P  "  "  The  old  ladies  " 

"  The  mother  "  "  Fellow  traveler  " 

"  Red  mitts  "  "  Listening  " 

"Speculation"  "The  fairy  book" 
"  Auburn  and  white  " 

Bellows,  George  Wesley,  (P.)  b.  Columbus,  O.,  August  12,  1882.  A.  B. 
Ohio  State  University  in  1905.  Studied  in  New  York  School  of  Art  under 
Robert  Henri.  Exhibited  at  International  Exposition,  Venice;  Royal 
Academy,  Berlin;  Royal  Society,  Munich;  Kensington  Museum,  London; 
and  in  principal  cities  of  the  United  States.  Elected  an  associate  member 
of  the  National  Academy  in  1908. 

Mr.  Bellows  is  one  of  the  modem  impressionists.  He  shows  a  Uking  for 
the  sharp  contrasts  of  snow  and  water,  snow  and  houses  and  snow  and  dis- 
tant hills.     An  example  of  his  work  is  "The  Palisades"  snow-covered. 

Critics  compare  this  snowscapist  to  the  old  painters  of  Holland. 

His  "Polo  game"  and  "Foot-ball  game"  are  extraordinary  examples 
of  action  in  art — full  of  strength  and  power  as  well  as  action. 

"Blackwell's  bridge"  is  a  well-known  painting  of  his. 

Benson,  Frank  Weston,  (P.,  Mural  P.)'b.  Salem,  Mass.,  March  24,  1862. 
Studied  art  at  the  Boston  Museum  of  Fine  Arts,  also  under  Boulanger  and 
Lefebvre  in  Paris.  He  has  been  the  recipient  of  a  remarkable  number  of 
artistic  distinctions,  the  chief  significance  of  which  is  that  they  have  been 
awarded  by  the  artistic  profession.  Is  a  member  of  Ten  American  Painters. 
Since  1892  he  has  been  instructor  in  drawing  in  the  Boston  Museum  of  Fine 
Arts.  Was  elected  to  full  membership  in  the  National  Academy  in  1905. 
His  Ust  of  honors  and  prizes  received  is  a  long  one.  He  has  also  won  dis- 
tinction b)^  his  sympathetic  and  understanding  interpretation  of  child  life.    • 

Open-air  work  is  the  most  familiar  side  of  Benson's  art,  and  figure  subjects 
in  the  open  air  have  made  him  a  student  of  the  sea  as  well  as  landscape,  and 
especially  of  both  viewed  imder  the  effect  of  sunhght. 
5 


34 

"Against  the  sky,"  which  ]Mr.  Benson  considers  one  of  the  best  things 
that  he  has  ever  done,  like  "Eleanor,"  has  the  quality  of  freedom  for  which 
the  "Ten"  seceded.  His  "Moonlight  at  sea"  has  all  the  beauty  of  romance 
and  technique.     "Summer  "  is  one  of  his  most  successful  decorative  paintings. 

A  few  of  his  representative  canvases  are : 

"  Orpheus  "  "  My  little  girl " 

"  Winter  storm "  "LampHght"      • 

"  Girl  with  veil "  ' '  Girl  with  black  hat " 

"Portrait  of  three  sisters"        .  " Calm  morning " 

" In  an  old  garden "  "Girl  playing  solitaire" 

"  Woman  reading  "  "'  In  the  spruce  trees  " 

"The  hill  top  "  " Portrait  in  white  "  (his  wife.) 

"  Summer  afternoon  " 

"The  note  of  Frank  Weston  Benson's  work  in  painting  is  a  sustained 
and  spontaneous  gaiety,  which  is  expressed  through  beautifully  cheerful 
color,  in  a  style  combining  animation  with  refinement.  He  sets  before 
us  visions  of  the  free  hfe  in  the  open  air,  with  figures  of  gracious  women  and 
lovely  children,  in  a  landscape  drenched  in  sweet  sunlight  and  cooled  by 
refreshing  sea  breezes.  The  purity  and  charm  of  the  sentiment  match  the 
purity  and  charm  of  the  color."     (Arts  and  D.  1 :195.) 

Mr.  Benson's  paintings  (apart  from  his  portraits)  have  much  shimmering 
color  and  radiance  of  Ught,  a  subtle  effect  of  seeking  the  decorative  in  nature 
herself."     (Int.  Studio  35:xcix.) 

His  paintings  of  women  have  something  of  the  sweetness  of  the  old-fash- 
ioned ideals  of  high-bred  feminine  grace  and  loveliness,  with  the  breadth  and 
looseness  of  the  modem  style  of  workmanship.  His  pictures  have  the  re- 
finement of  the  18th  century  English  female  types  with  the  freedom  and 
vivacity  of  the  19th  century  American  girl."     (Brush  &  P.  6:145.) 

Mr.  Benson's  touch  is  light  and  there  is  a  painter-like  quality  in  all  his 
work  which  lends  potency  to  interest  as  well  as  to  charm. 

His  work  is  broad,  simple  and  direct;  he  uses  clear,  fresh  color  and  selects 
almost  invariably  very  agreeable  subjects."     (Art  &  P,  Nov.,  1912.) 

Mr.  Benson  has  also  done  mural  painting,  "The  graces"  and  "The  seasons" 
in  the  Librarj'  of  Congress,  being  his  work. 

BiERSTADT,  Albert,  (P.)  b.  Diisseldorf,  Germany,  January  7,  1830;  d. 
New  York,  February  18,  1902. 

When  one  year  old  he  was  taken  to  New  Bedford  where  his  youth  was 
spent.  At  twenty-four  he  returned  to  his  native  town  in  Germany  and 
studied  art  under  Lessing  for  four  years,  and  in  Home  for  one  year,  making 
summer  sketching  tours  to  Switzerland.  He  returned  to  the  United  States 
in  1859  hut  made  frequent  trips  to  Europe.     In  1857  accompanied  General 


F.  W.  Lander's  expedition  to  the  Rock\'  Mountains  and  collected  material 
for  his  most  important  pictures. 

"Settlement  of  Calif omia  by  the  Spanish  priest,  Father  Junipero  Serra" 
and  "The  discovery  of  the  Hudson  river"  in  the  Capitol  at  Washington, 
"View  on  the  Kem  river"  and  "Sunset  among  the  Sierra  Nevada  moun- 
tains" at  the  Hermitage,  St.  Petersburg,  "Great  trees  of  California"  in  the 
Imperial  palace,  Berlin,  "Estes  Park"  owned  by  the  earl  of  Dunraven, 
"Laramie  Peak"  in  the  Academj-  of  Fine  Arts,  Buffalo,  and  "A  mountain 
peak"  in  the  Corcoran  gallery  at  Washington,  are  among  some  of  his  best 
known  works. 

Tuckerman  says:  "No  more  genuine  and  grand  American  work  has 
been  produced  than  Bierstadt's  "Rocky  mountains." 

^ledals  were  awarded  to  him  in  Austria,  German}-,  Bavaria  and  Belgium. 
He  was  made  a  chevalier  of  the  Legion  of  Honor  of  France,  received  the 
order  of  St.  Stanislaus  of  Russia  and  the  Imperial  order  of  the  Madjidi  from 
the  sultan  of  Turkey.  Elected  member  of  the  National  Academy  of  Design, 
1860. 

Birch,  Reginald  Bathurst,  (I.)  b.  London,  England,  May  2,  1856;  came 
to  the  United  States  at  the  age  of  sixteen;  later  studied  art  in  Munich  and 
Italy.  Has  drawn  much  \s'ith  the  pen,  mostly  for  "St.  Nicholas."  He 
may,  indeed  be  called  the  "Children's  Gibson."  Illustrated  "Little  Lord 
Fauntleroy,"  "Lady  Jane,"  and  "The  story  of  Betty." 

Is  the  illustrator  par  excellence  for  children's  stories  and  iairy  tales.  His 
line  is  graceful  and  his  use  of  blacks  exceedingly  skilful. 

BiSBiNG,  H.  Singleton,  (P.) — American  cattle  painter — b.  Philadelphia, 
Pa.,  January  31,  1849.  Began  his  artistic  career  bj'  studj-ing  wood-engraving. 
In  1872  he  was  employed  on  Appleton's  Art  Journal.  He  entered  upon  a 
course  of  study  under  Profs.  Barth  and  Loefftz  at  Munich  in  1876  and  three 
years  later  became  a  pupil  of  J.  H.  L.  deHaas,  the  celebrated  animal  painter 
of  Brussels.  In  1884  he  removed  to  Paris  where  he  continued  his  studies 
under  Felix  du  Vuillefroy,  also  a  noted  animal  painter. 

His  pictures,  mostly  animal  subjects,  have  been  exhibited  at  the  Paris 
salon. 

Received  third-class  medal  at  Paris  salon  in  1891;  Temple  gold  medal 
at  the  exhibition  of  Pennsylvania  Academy  of  Fine  Arts  in  1892.  Was 
made  a  chevaUer  of  the  Legion  of  Honor  of  France  in  1902. 

Works  are  in  Pennsylvania  Academy  of  the  Fine  Arts,  Philadelphia,  Berlin 
National  Gallery  and  in  private  collection  of  royal  familj'  of  Saxony.  Mr. 
Bisbing  is  a  member  of  the  Paris  Society  of  American  Painters  and  his  paint- 
ings are  hors  concours  at  the  Paris  salon. 

"Bisbing  paints  large  landscapes,  saturated  by  light  and  air,  with  cows 
somnolently  resting  in  the  sun."     (Miither.) 


36 

Bitter,  Karl  Theodore,  (S.)  b.  Vienna,  Austria,  December  6,  1867. 
Studied  art  in  the  Vienna  Academy  of  Fine  Arts.  From  the  age  of  sixteen 
he  made  efforts  to  come  to  America  but  did  not  receive  the  consent  of  his 
parents  until  1889  when  he  sailed  for  New  York.  The  first  year  in  New  York, 
unknown  and  practically  friendless,  he  won  in  competition  the  order  for 
one  of  the  Astor  memorial  gates,  of  Trinity  Church. 

Mr.  Bitter  was  connected  with  the  Columbian  Exposition  as  a  decorator 
and  with  the  Pan-American  and  St.  Louis  expositions  as  official  director  of 
sculpture. 

Of  his  "Standard  bearers"  in  heroic  size  (a  personal  contribution  to  the 
Pan-American  Exposition),  Lorado  Taft  says:  "They  were  the  finest  things 
ever  devised  for  any  exposition."  His  "Villard  memorial"  and  "Hubbard 
memorial"  "are  beautifully  modeled  and  have  about  them  an  atmosphere 
of  poetic  gravity  quite  unfamiliar  in  Mr.  Bitter's  sculpture."  His  bust  of 
Dr.  Pepper,  provost  of  the  University  of  Pennsylvania,  is  a  gratifying  success 
and  shows  beyond  its  admirable  workmanship  a  subtle  union  of  kindliness 
and  reserve  which  makes  it  a  convincing  expression  of  individuality." 

Among  Mr.  Bitter's  works  are  many  figures  and  figure  reliefs  for  the  resi- 
dences of  the  Vanderbilts,  C.  P.  Huntington,  John  Jacob  Astor  and  others. 
More  numerous  are  his  decorations  for  public  buildings,  libraries,  churches, 
stores,  etc.  Notable  are  the  enormous  reliefs  for  the  Broad  street  station 
of  the  Pennsylvania  Railroad  at  Philadelphia.  His  groups  of  children  are 
happy  ideas  for  small  fountains. 

Elected  an  associate  member  of  the  National  Academy  of  Design,  New 
York,  in  1902;  academician,  1903.  Member  of  the  National  Sculpture 
Society,  New  York  Arch.  League  and  Society  of  American  Artists. 

Blakelock,  Ralph  Albert,  (P.)  b.  New  York,  October  15,  1847.  The  son 
of  a  physician  he  was  educated  with  a  view  to  adopting  his  father's  pro- 
fession but  he  was  naturally  gifted  in  the  line  of  music  and  painting  and  the 
science  and  practice  of  medicine  did  not  attract  him.  Renouncing  the 
career  of  a  physician  and  resolving  to  take  up  the  profession  of  painting, 
with  no  art  training  whatever,  without  guidance  or  assistance,  he  opened 
a  studio  in  New  York.  The  story  of  his  life  is  a  pitiful  one — one  of  the  saddest 
in  the  history  of  American  art.  The  hardships  and  privations  which  he  en- 
dured unsettled  his  mind  and  he  was  confined  in  an  insane  asylum  for  several 
years. 

An  exhibition  of  his  paintings  was  held  in  New  York  in  1902,  since  which 
time  public  appreciation  has  been  more  just. 

Characteristic  examples  of  his  work  are: 

"  Moonrise  "  "  October  sunshine  "  ! 

"At  nature's  mirror"  "Redwoods,  California" 

"Solitude"  " Indian  girl,  Uinta  tribe" 

"Sunset,  Nevarra  Ridge"  "Navajo  blanket  makers" 


"The  mountain  brook"  "Indian  fisherman" 

"  Sunset  off  the  coast "  "  Bannoch  ^^dgwam  in  peaceful  vale  " 

"Sunset  through  the  wood"  "The  captive" 

"Morning"  "The  canoe  builder" 

"Moonlight"  "Abode  of  the  stately  deer" 

"Cool  wooded  shades "  " Storj-  of  the  buffalo  hunt " 

"The  oak  tree" 

"Blakelock's  canvases  are  little  less  than  a  revelation  of  his  wide  range 

of  expression  and  of  his  varjing  moods They  include  peaceful  and 

poetical  pastorals,  sunsets  glowing  even  to  the  point  of  the  garish,  moon- 
light suffused  with  a  bewitching  silver}'  sheen,  landscapes  in  which  there  is 
no  suggestion  of  human  life,  Indian  groups  for  which  the  landscape  S3rves 
but  as  a  setting  ....  The  canvases  convey  the  impression  of  a  strong  poetic 
temperament  dominated  ^^dth  a  moodiness  which  struggles  with  and  finally 
extinguishes  free,  glad,  artistic  expression. 

"He  was  essentially  a  colorist,  and  the  pecuhar  charm  of  liis  work  lies 
in  the  fact  that  he  had  the  audacity  to  attempt  and  the  ability  to  obtain 

tonal  effects  that  at  once  stamped  his  canvases  as  remarkable 

It  has  been  said  of  him  that  he  stands  quite  alone  among  American  artists 
as  an  original  creative  genius  whose  endowment  was  unusually  artistic  and 
whose  sense  of  the  beautiful  was  peculiarly  acut€."     (Brush  &  P.  9:257.) 

Blashfield,  Edwin  Rowland,  (Mural  P.,  I.)  b.  New  York,  December  15, 
1848.  Was  educated  in  Boston  Latin  School.  Studied  in  Paris,  1867,  under 
Leon  Bonnat,  also  received  advice  from  Gerome  and  Chapu.  Exhibited  at 
the  Paris  salon  1874-9,  1881,  1891,  1892;  also  several  years  at  Royal  Academy, 
London.  Returned  to  the  United  States  1881.  A  member  of  the  National 
Academy  of  Design,  New  York,  since  1888.  President  National  Society  of 
Mural  Painters.  Has  exhibited  genre  pictures,  portraits  and  decorations 
and  lectured  on  art  at  Columbia,  Harvard  and  Yale  and  in  prominent  cities 
of  the  United  States,  his  lecture  of  "Municipal  art"  being  regarded  one  of  the 
best  lectures  on  art  ever  given  in  this  country. 

In  collaboration  with  his  wifo  he  prepared  .aumerous  illustrated  articles 
for  Scribnev,  Century  and  other  leading  magazines  on  subjects  connected 
with  m.ediaeval  or  renaissance  art,  or  noted  places  of  the  old  world.  Among 
the  most  noteworthy  and  interesting  of  these  may  be  mentioned:  "With 
Romola  in  Florence,"  "The  man  at  arms,"  "Castle  life,"  "A  day  with  a 
Florentine  artist  of  the  loth  century,"  "Ravenna  and  its  mosaics,"  "The 
Paris  of  the  musketeers,"  "Afloat  on  the  Nile." 

Most  notable  of  his  paintings  are: 

"  Christmas  bells  "  "  All  souls  day  " 

" The  choir  boj's "  "Inspiration" 

"The  angel  of  the  flaming  sword"  "Young  poet" 

"  Spring  time  "  "  Toreador  " 


38 

Mr.  Blashfield's  strength  lies  in  decorative  painting  in  which  his  drawing 
is  as  elegant  as  his  color  is  fragile  in  tone.  His  best  mural  work  is  seen  in  the 
Library  of  Congress,  Washington;  court  house,  Baltimore  and  the  Minnesota 
and  low^a  state  houses.  He  painted  the  design  for  the  dome  piece  for  the 
new  state  capitol  at  Madison,  Wis.,  said  to  be  the  largest  canvas  ever  painted 
in  America,  and  the  figure  which  typifies  the  state  of  Wisconsin  is  thirteen 
feet  sitting,  the  largest  figure  ever  painted. 

"  In  his  art  he  demonstrates  his  understanding  of  drawing,  elevated  without 
losing  strength,  of  refined  felicitous  light,  of  controlling  unified  tone,  of  the 
grace,  sweetness  and  reticence  in  simple  gesture  and  of  the  power  in  an 
organized  whole."     (Int.  Studio  35:lxix.) 

Blum,  Robert  Frederick,  (P.,  I.,  E.,  Mural  P.)  b.  Cincinnati,  O.,  July  9, 
1857;  d.  New  York,  June  8,  1903.  Was  apprenticed  in  lithographing  shop 
in  1871  and  attended  night  classes  at  McMicken  Art  School  of  Design,  Cin- 
cinnati. Studied  nine  months  at  the  Pennsylvania  Academy  of  the  Fine 
Arts,  Philadelphia.  Went  to  New  York  in  1879.  Made  trips  to  Europe 
during  the  years  1880-89.  In  1890  he  accompanied  Sir  Edwin  Arnold  to 
Japan  in  order  to  illustrate  his  "  Japonica." 

His  "Lace  makers"  won  a  medal  at  the  Paris  Exposition  in  1889;  "Bead 
stringers"  occasioned  his  election  as  an  associate  of  the  National  Academy, 
and  the  exhibition  of  his  "Ameya"  ("Itinerant  candy  vender")  brought 
him  into  full  membership  of  the  academy  in  1893.  At  his  election  he  was 
the  youngest  member  of  the  association. 

Upon  his  return  from  Japan  in  1892,  after  completing  his  Japanese  draw- 
ings and  paintings,  he  took  up  mural  decoration  and  reached  the  highest 
perfection  of  art  in  the  magnificent  decorations  in  Mendelssohn  Hall,  New 
York,  illustrating  the  "Moods  of  music." 

The  charm  of  Blum's  pictures  lies  in  the  execution  rather  than  in  the 
subjects  which  are  chosen  from  every  land  except  America.  His  "Itin- 
erant candy  vender"  in  the  Metropolitan  Museum  of  New  York  is  full  of 
color,  with  exactitude  of  hne  and  a  charming  sense  of  foreign  parts.     (Isham.) 

His  pen  drawings  of  Venice,  dated  1880,  have,  in  all  the  progress  of  that 
special  art,  never  been  excelled. 

"He  paints  Japanese  street  scenes  full  of  sunlight  and  lustrous  color." 
(Miither.) 

A  few  Japanese  pictures  are: 

"  Flower  market,  Tokio  "  "  Musee-night " 

"The  geisha"  "Siesta" 

" Cherry  blossoms "  "The  terrace" 
"The  bath" 

While  Mr.  Blum's  reputation  as  an  illustrator  and  etcher  was  well  es- 


39 

tablished,  it  is  probable  that  he  will  be  longest  remembered  by  his  work  as 
a  colorist. 

Blumenschein,  Ernest  Leonard,  (P.,  I.)  b.  Pittsburgh,  Pa.,  May  26, 
1874.  Pupil  of  Gncimiati  Art  Academy;  Art  Students'  League  of  New  York; 
Benjamin-Constant,  Laurens  and  CoUin  of  Paris.  IMember  of  Society  of  Il- 
lustrators and  Paris  American  Artists  Association. 

Illustrator  for  Centur\',  Scribner's,  McClure's,  Harper's,  American  and 
other  magazines  and  books;  also  portrait  painter  and  teacher. 

Blumenscheix;  Mary  Shepard  Green,  (P.,  S.)  (Mrs.  E.  L.  Blumen- 
schein)  b.  New  York.  Pupil  of  Herbert  Adams  of  New  York,  Collin  of  Paris. 
Received  third-class  medal  in  the  Paris  salon  of  1900;  second-class  medal  in 
salon  of  1902;  silver  medal  of  St.  Louis  exposition  1904. 

Mrs.  Blumenschein  was  the  first  American  woman  to  receive  a  medal  of 
the  second  class  from  the  Societe  des  Artistes  Francois. 

BoGERT,  George,  (P.)  b.  New  York,  1864.  Pupil  of  National  Academv, 
also  of  PuN-is  de  Chavannes,  Aims  Morot  and  E.  Boudin,  Paris.  Received 
honorable  mention  at  the  Pennsylvania  Academy  of  the  Fine  Arts,  1892; 
Webb  prize.  Society  American  Artists,  1898;  first  Hallgarten  prize  National 
Academy,  1899.     Associate  member  of  National  Academy  of  Design,  1899. 

"October  moonhght"  is  much  admired,  as  is  also  "Approach  of  evening, 
Venice,"  ablaze  with  the  \dbrating  colors  of  the  sky  at  sunset. 

"He  has  done  a  great  amount  of  work,  much  varied  not  only  in  subject — 
landscapes,  marines,  \dews  of  cities  chosen  from  all  over  the  world — ^but  also 
in  handUng  and  in  color  scheme."     (Isham.) 

His  work  is  largely  reminiscent,  the  works  of  Constable,  Diaz,  Maris,  being 
reflected  in  his  canvases;  but  his  two  most  interesting  canvases,  "Approach- 
ing storm"  and  "Day  after  the  storm"  are  strong  works  and  derived  evidently 
from  independent  study  and  a  personal  outlook.     (The  artist,  24:lxi.) 

"His  technique  is  strong,  and  if  his  ideals  were  simpler  and  more  direct, 
his  art  could  be  enthusiastically  admired.  He  has  force,  dramatic  quality, 
and  knows  how  to  put  a  picture  together."     (Brush  &  P.  4:125.) 

' '  Eventide  "  "  Rainbow  at  sea  " 

"The  last  rays"  "Summer  morning,  Manomet" 

"Chateau  Gaillard,  moonrise" 

BoRGLUM,  John  Gutzon  Mothe,  (S.,  P.,  I.)  b.  California,  March  25,  1867. 
Pupil  of  San  Francisco  Art  Association  and  Academie  JuUen  in  Paris.  Is  a 
member  of  the  Royal  Society  of  British  Artists  and  Society  Nationale  des 
Beaux  Arts,  Paris. 

As  a  lad  in  a  western  Jesuit  college  he  carved  crucifixes  on  his  slates  and 
copied  in  his  books  reproductions  of  pictures  by  the  old  masters. 


40 

After  studying  in  Paris  and  spending  a  year  in  Spain  he  returned  to  the 
United  States  but  in  1896  went  to  London  and  remained  there  until  1901; 
settled  in  New  York  in  1902. 

His  earlier  works  in  sculpture  were  western  in  subject — "Indian  scouts," 
"Death  of  a  chief,"  "Apaches  pursued  by  U.  S.  troops."  Later  works  are 
"The  seer,"  "The  Boer,"  "Remorse,"  gargoyles  for  dormitory  building  at 
Princeton,  bronze  statuette  of  John  Ruskin  and  portrait  bust  of  Lincoln. 
Of  this  bust  of  Lincoln  a  writer  on  works  of  art  says:  "In  profound  insight 
into  character  and  in  subtleness  of  portrayal,  Gutzon  Borglum's  "Head  of 
Lincoln"  must  be  accounted  among  the  greatest  achievements  in  portrait 
sculpture  that  have  been  made  by  any  American  artist."     (Craftsman  14:26.) 

The  masterly  rendering  of  "The  mares  of  Diomedes"  places  this  group 
among  the  great  works  of  art.  Here  he  has  given  movement — the  fury  of 
high-strung  steeds. 

In  1898  he  was  commissioned  to  make  the  decorations  for  the  Queen's 
Hotel  at  Leeds  and  chose  for  his  subject  the  story  of  "Pan."  Here  his  real 
personality  showed  itself  and  his  special  genius  came  into  play. 

In  his  New  York  studio  he  painted  a  series  of  mural  decorations  for  the 
Midland  Hotel  Concert  Hall  at  Manchester,  England — subject:  "The 
coming  of  Guinevere,"  also  painted  twelve  panels  illustrating  "Mid-summer 
night's  dream  "  for  a  private  residence  in  New  York. 

His  statuette  of  John  Ruskin  evinces  that  broad  thought  with  which 
he  approaches  his  subject. 

In  writing  of  the  art  of  the  Metropolitan  Museum  of  New  York  (where  are 
his  "Mares  of  Diomedes"  and  the  bronze  statuette  of  Ruskin)  David  C. 
Preyer  says:  "Nothing  could  be  in  more  striking  contrast — the  mad  stam- 
pede of  the  tumbling  mass  of  horses  and  the  quiet  dignified  repose  of  the 
writer  and  thinker." 

A  contributor  to  the  International  Studio  says:  "A  certain  impressionistic 
tendency  shows  itself  in  ^Ir.  Borglum's  recent  work." 

His  works  are  so  varied  and  his  manner  so  versatile  that  classification 
and  general  exposition  is  almost  out  of  the  question. 

"The  reason  for  building  any  work  of  art,"  he  says:  "can  only  be  for 
the  purpose  of  fixing  in  some  desirable  form  a  great  emotion,  or  a  great 
idea,  of  the  individual  or  the  people." 

BoRGLUM,  Sr)LON  H.vNNiii.xL,  (S.)  b.  Ogden,  Utah,  December  22,  1868. 
Was  reared  among  the  frontiersmen  in  a  typical  prairie  town  and  worked 
on  a  stock  ranch  while  young.  In  1893  he  decided  to  give  up  ranch  life  and 
to  study  art;  became  a  student  in  the  Cincinnati  Art  School  and  studied 
under  Louis  Rebisso  and  Fremiet  in  Paris.  Associate  member  of  National 
Academy  of  Design,  1911. 

When  he  went  to  Cincinnati  he  obtained  admission  to  the  U.  S.  stables 
and  began  to  model  his  first  group  which,  when  exhibitetl  in  the  annual 


41 

school  exhibit,  won  him  a  special  prize  of  $50,  and  during  his  second  year 
at  the  art  school  he  won  the  prize  of  a  scholarehip.  In  Paris  his  groups  were 
accepted  by  the  salon  and  he  received  encouraging  words  of  approval  from 
Fremiet,  the  French  sculptor. 

His  gioup  called,  "Lassoeing  wild  horses"  was  his  first  exhibit  in  the  Paris 
salon;  "Stampede  of  wild  horses"  was  next,  and  "The  lame  horse"  brought 
him  honorable  mention.  Returning  to  the  United  States  in  1900,  he  made 
a  special  study  of  w^estem  life,  living  among  cow-boys  and  Indians. 

"In  such  works  as  "The  last  round-up,"  "Our  slave"  and  "On  the  bor- 
der of  white  man's  land,"  Mr.  Borglum  has  hit  upon  a  veiy  large  and  im- 
pressive treatment  which  is  distinctly  sculptural  in  its  inspiration;  while  in 
the  tiny  "Burial  on  the  plains"  there  is  a  mysterious  emotional  note  which 
has  been  touched  by  few  indeed  of  our  sculptors,  a  sentiment  that  might 
easily  have  been  dissipated  by  a  more  insistent  technic."  (Taft's  "History 
of  American  sculpture.") 

"There  is  that  in  his  work  which  challenges  the  shams  and  insincerities 
of  our  drawing  rooms  and  which  makes  the  money-getting  occupation  of  our 
trammeled  lives  seem  suddenly  trite.  His  art  is  not  the  expression  of  his 
personality,  but  of  that  part  of  the  universe  by  which  he  was  environed  and 
is  therefore  as  untrammelsd  as  nature." 

"He  stands  pre-eminently  as  a  sculptor  of  American  life  in  one  of  its 
distinctive  phases  ....  His  groups  embody  in  marble  and  bronze  the  free 
primitive  life  of  the  great  west."     (Craftsman  12:382.) 

BouGUEREAU,  ELIZABETH  Gardxer,  (P.)  (Madame  W.  A.  Bouguereau), 
b.  Exeter,  X.  H.,  1851.  Received  honorable  mention  in  Paris  salon,  1879; 
gold  medal,  1889;  hors  concour.  Her  professional  life  has  been  spent  in 
Paris  where  she  was  a  pupil  of  Hugues  Merle,  Lefebvre  and  Bouguereau 
whom  she  married. 

When  Miss  Gardner  went  to  Paris  to  study  art  women  were  not  admitted 
to  the  JuUen  Academy  and  determined  to  have  the  benefit  of  the  teaching 
there  given,  she  donned  boy's  clothes.  Bouguereau  was  her  teacher  and 
his  interest  and  kindness  won  from  her  a  confession  of  her  secret.  The 
great  French  artist's  sense  of  justice  was  aroused  and  through  his  efforts 
the  doors  of  the  famous  academy  were  opened  to  women,  and  the  name  of 
the  first  woman  artist  to  be  enrolled  in  the  academy  was  that  of  Elizabeth 
Gardner  of  the  United  States.  Twenty  years  later,  after  the  death  of  Bou- 
guereau's  mother  who  opposed  the  marriage,  he  and  Miss  Gardner  were 
married.     (Cur.  lit.  39:391.) 

BowEX,  Benjamin  James,  (P.)  b.  Boston,  Mass.,  February  1,  1859.  After 
receiving  his  education  he  went  into  business  for  some  time.  Later  became 
the  pupil  of  Lefebvre,  Robert-Fleurj^  and  Carriere  in  Paris  and  after  studying 
the  works  of  the  old  masters  in  the  various  art  galleries  of  Europe  he  took 


42 

a  studio  at  Concameau,  France,  and  there  painted  his  first  successful  picture. 
He  has  exhibited  in  the  Salon  des  Artistes  Francais  and  in  America. 

"The  first  thing  that  strikes  us  in  Mr.  Bowen's  pictures  is  the  skillful 
management  of  light — fine  shadow  masses  illumined  with  bursts  of  light; 
this  is  admirably  illustrated  in  his  three  salon  pictures:  "Le  mousse  bless6," 
"Mending  the  sail"  and  "Pardon  de  Notre  Dame  de  la  joie." 

"His  work  is  honest  and  strong,  and  in  looking  at  his  pictures  one  seems 
to  share  the  simple  homeliness  of  the  life  they  reveal."  (English  Illustrated 
Magazine,  April,  1912.) 

Boyle,  John  J.,  (S.)  b.  New  York,  January  12,  1852.  Pupil  of  Pennsyl- 
vania Academy  of  the  Fine  Arts,  Philadelphia,  under  Thomas  Eakins;  Ecole 
des  Beaux  Arts  under  Dumont,  Thomas  and  E.  Millet  in  Paris.  Received 
honorable  mention  Paris  salon  1886,  and  has  also  won  many  medals. 

liorado  Taft  says:  "His  most  valuable  contribution  to  our  national  art 

is  imdoubtedly  in  his  favorite  field  of  aboriginal  subjects For  the 

expression  of  power,  for  monumental  simplicity  and  integrit}^  of  conception 
his  groups  "The  alarm"  in  Lincoln  Park,  Chicago,  and  "The  stone  age,"  in 
Fairmount  Park,  Philadelphia,  have  not  been  surpassed." 

Breckenridge,  Hugh  Henry,  (P.)  b.  Leesburg,  Va.,  October  6,  1870. 
Pupil  of  the  Pennsylvania  Academy  of  the  Fine  Arts,  Philadelphia,  and 
Bouguereau,  Doucet  and  Ferrier  in  Paris.  Honorable  mention  at  Paris 
Exposition  in  1900  and  several  prizes  and  medals  since  that  time.  Member 
of  the  Philadelphia  Water  Color  Club  and  instructor  and  secretary  of  the 
faculty  of  P.  A.  F.  A.  since  1894. 

Mr.  Breckenridge's  portrait  of  Dr.  James  Tyson  was  exhibited  at  the  107th 
annual  exhibition  of  the  Pennsylvania  Academy  of  the  Fine  Arts  and  the 
International  Studio  says  that  it  "was  painted  mth  thoroughly  masterful 
technique  and  was  decidedly  the  most  creditable  example  of  the  artist's  work 
ever  seen  on  the  Academy  walls  and  certainly  added  tremendously  to  his 
reputation." 

Other  representative  paintings  are 

"A  thread  of  scarlet"  " The  nautilus " 

"Autumn"  Portrait  of  Dr.  Edgar  Fohs  Smith 

"Moonlight"  Portrait  of  Howard  B.  French. 

Brenner,  Victor  David,  (S.)  b.  in  Russia,  1871;  came  to  America  at  the 
age  of  nineteen.  Later  in  Paris  he  studied  under  the  great  Roty  and  soon 
reached  a  high  stage  of  proficiency  in  the  art  of  the  medallist. 

"In  honor  of  motherhood"  is  characteristic  of  his  work  and  excellent  in 
itself. 

"For  the  expression  of  a  large  idea,  indeed,  a  medal  is  to  sculpture  what'a 


43 

sonnet  is  to  poetrj-,  and  each  calls  for  the  greatest  ability  of  the  artist  or  the 
poet."     (Warren  Wilmer  Bro^^-n,  Arts  &  D.  2:24.) 

The  Motherhood  medal  is  the  fourth  of  a  series  being  struck  under  the 
auspices  of  this  circle  of  connoisseurs  and  admirers  of  this  expression  of 
art." 

Breuer,  Henry  Joseph,  (P.,  I.)  b.  Philadelphia,  Pa.,  August  18,  1860. 
Began  his  art  studies  in  Buffalo.  X.  Y.  Was  a  Rockwood  potterj-  decorator 
in  Cincinnati,  1880-2:  hthogi-aphic  designer,  1882-4;  mural  decorator,  Xew 
York,  1884-8:  illustrator  San  Francisco  Chronicle,  1890-2;  art  editor  CaU- 
fomia  magazine,  1892-3 :  landscape  painter  since  1893.  Is  a  member  of  the 
Society  of  American  Artists  of  Paris.  Studied  in  Paris  where  he  came  under 
the  influence  of  the  Barbizon  school  and  was  especially  impressed  by  Corot. 

"As  an  aid  to  development  along  indi\ddual  and  original  lines  he  has  spent 
many  yeai"s  in  California  where  the  '*  atmosphere ''  is  indi\'idualistic  in  all 
acti\'ities,  and  he  was  there  isolated  to  an  extent  from  the  "schools"  and  of 
necessity  studied  nature  more  than  art." 

"Ha^'ing  a  splendid  eye  for  detail,  he  apphes  it  in  a  creative  imagination 
evidenced  in  his  synthetic  method,  which  gives  a  balance  and  sense  of  com- 
pleteness to  his  compositions."     (Int.  studio.  39:xlix.) 

He  was  commissioned  to  paint  pictures  of  the  Arroyo  Seco  of  the  San 
Gabriel  ^'^ alley  for  the  St.  Louis  Exposition  in  1904. 

Characteristic  works  are: 

"  Yosemite  valley  " 
"A  California  simset" 
"Mt.  Brewer  in  the  Sierras" 

Bridges,  Fidelia,  (P.)  b.  Salem,  Mass.,  May  19,  1834.  One  of  the  few 
pupils  of  the  late  WiUiam  T.  Richards.  Was  elected  associate  member  of 
the  National  Academy,  1874. 

At  the  forty-fifth  annual  exhibition  of  the  American  Water  Color  Society 
she  exhibited  two  paintings  of  characteristic  charm  and  finesse;  "Flowers 
in  the  beach  grass"  and  "A  wide  beach." 

"^Miss  Bridges  is  unique  in  her  remarkable  apphcation  of  the  principles  of 
Japanese  art  in  landscape  painting  and  in  the  delineation  of  flowers  and  birds, 
the  last,  indeed,  being  as  inseparable  from  her  name  as  are  cats  from  the  name 
of  Henriette  Ronner." 

Bridgal\n,  Frederic  Arthur,  (P.)  b.  Tuskegee,  Ala.,  November  10,  1847* 
Was  apprentice  in  the  engra\Tng  department  of  the  American  Bank  Note 
Company,  New  York,  1864-5.  Studied  in  Brooklyn  Art  School  and  National 
Academy  Xew  York  and  was  a  pupil  of  Gerome  and  at  the  Ecole  des  Beaux 
Arts,  Paris,  1866-71.  Since  then  he  has  had  a  studio  in  Paris,  occasionally 
visiting  New  York.     A  member  of  the  National  Academj'  since  1881. 


44 

Mr.  Bridgman  has  a  well-established  reputation  for  his  Oriental  and  arch- 
aeological pictures.  He  paints  almost  exclusively  scenes  from  Algiers.  The 
first  picture  by  which  he  became  widely  known  was  "The  burial  of  the  mum- 
my." This  won  for  him  the  decoration  of  the  Legion  of  Honor.  Of  this 
picture  the  severe  critic  of  the  Paris  Figaro  said:  "Gerome  himself  might 
have  signed  it,  so  high  is  the  merit."  This  painting  with  "The  pastime  of  an 
Assyrian  king"  and  "The  procession  of  the  sacred  bull  Apis"  are  his  chief 
pictures. 

He  has  made  special  study  of  Algiers,  Egypt  and  Nubia  and  the  Nile,  and 
is  regarded  as  the  authorized  painter  of  the  south  shore  of  the  Mediterranean. 
In  1881  he  brought  together  in  all  330  pictures  of  the  East  at  an  exhibition 
in  New  York.  His  favorite  studies  are  curious  mixtures  of  Arab  camel  drivers, 
French  zouaves  and  cosmopolitan  tourists.  These  pictures  belong  to  what 
is  called  Mr.  Bridgman' s  salon  manner. 

"  White  draperies,  dark  skin  tints,  shining  marble  and  keen  blue  atmosphere, 
ethnographical  accuracy  and  a  taste  for  anecdote  are  the  leading  character- 
istics of  his  pictures."     (Miither's  "History  of  modem  painting.") 

Some  of  his  Brittany  studies,  chiefly  landscapes,  are  more  interesting 
— they  possess  a  different  quality.  The  effects  of  light  are  subdued  and 
ver>'  delicate.     (The  Artist,  29:138.) 

His  works  are  now  hors  concours  in  the  Paris  Salon. 

Well-known  paintings  are: 

"  Up  early  "  ' '  Girls  in  the  way  " 

"Apollo  bearing  off  Gyrene"  "Interior  of  the  harem" 

"Illusions  of  high  life"  "Bringing  in  the  corn" 

"The  American  circus  in  Paris"  "A  Moorish  interior" 

"  In  the  Pyrenees  "  "  Tete-a-tete  in  Cairo  " 

"Chapel — noon"  "Bay  of  Dinard,  moonlight" 

"Greek  girls  on  the  seashore"  "Hour  of  reverie" 

"  The  morning  bath  "  "  In  the  silence  of  the  evening  " 

"  Lady  of  Cairo  visiting  "  "  Gathering  seaweed  " 

Brown,  George  Lorino,  (P.,  E.)  b.  Boston,  Mass.,  February  2,  1814; 
d.  Maiden,  Mass.,  June  25,  1889.  At  the  age  of  twelve  he  was  apprenticed 
to  Alonzo  Hartwell,  an  artist,  to  learn  the  art  of  wood-engraving;  when 
sixteen  he  went  to  Europe  with  money  eame^l  by  painting  and  through  the 
influence  and  assistance  of  John  Cheney,  an  American  engraver  living  in 
London,  he  was  enabled  to  study  in  Paris,  enduring  many  hardships,  how- 
ever. Two  years  later  he  returned  to  Boston,  opened  a  studio  and  worked 
with  Washington  AUston.  In  1840  he  went  to  Paris  again  and  studied 
under  Isabey,  then  took  up  his  residence  in  Rome  where  his  brilliant  and 
poetical  pictures  found  ready  sale. 


46 


Among  his  famous  paintings  are: 


"  Doge's  palace  and  Grand  canal "  "  Bay  of  Naples  " 

"Doge's  palace  at  sunrise"  "Foimtain  of  Trevi" 

"Palenno"  "Niagara  by  moonlight" 
"Atranti" 

The  Art  Museum  in  Rome  owns  his  "Moonlight  scene"  (a  prize  picture) 
and  the  late  King  Edward  VII  bought  his  "Crown  of  New  England"  when, 
as  the  Prince  of  Wales,  he  \-isit«d  the  United  States. 

Art  Journal,  May  1875:  "Brown's  Sunset,  Genoa,"  is  one  of  those  gor- 
geous idealized,  hazy  Italian  scenes  for  which  this  artist  is  so  much  noted 
in  the  vein  of  Turner." 

His  etchings  executed  in  Rome  are  much  freer  in  handling  and  more  sug- 
gestive in  color  than  are  those  of  John  Gadsby  Chapman. 

Browne,  George  Elmer,  (P.)  b.  Gloucester,  Mass.,  May  6,  1871.  Studied 
at  ^luseum  of  Fine  Arts  and  at  Cowles  Art  School,  Boston,  and  Academic 
Julien,  Paris.  Has  exhibited  in  Paris  salon  and  been  represented  at  nearly 
all  prominent  American  exhibitions.  Received  medal  at  the  Charitable 
Mechanics  Association,  Boston,  1895,  and  the  Inness  Jr.  prize,  Salmagimdi 
Club,  New  York,  1901. 

His  painting  entitled  "SelUng  bait  at  Cape  Cod,"  exhibited  in  the  Paris 
salon  1904,  was  purchased  by  the  French  government. 

Popidar  paintings  are : 

"  Fishing  boats  at  Boulogne-sur-  "On  the  beach  at  Scheveningen  " 

mer  "  "  The  old  gate  at  Moret " 

"A  peasant's  cottage"  "The  wain  team"  \ 

"  Storing  the  grain  " 

Many  of  his  best  subjects  have  been  the  depicting  of  city  life  and  scenery 
along  the  water  front  and  streets  of  New  York,  also  life  and  scenery  along 
the  Seine,  from  the  Parisian  boulevards,  the  banks  of  the  Thames  and  the 
canals  of  Holland. 

The  eminent  art  critic,  W.  Lewis  Eraser,  in  Brush  and  Pencil,  Vol.  14:107 
says:  "The  charm  of  his  pictures  is  the  tender  elusiveness  of  their  somewhat 
somber  airtones." 

Correctness  of  line  enables  him  to  express  unmistakably  what  he  wants 
to  say. 

Brush,  George  de  Forest,  (P.)  b.  Shelbyville,  Tenn.,  September  28,  1855. 
Pupil  of  Gerome.  Received  first  Hallgarten  prize  of  the  National  Academy 
of  Design,  New  York,  1888;  Temple  gold  medal  of  the  Pennsylvania  Academy 
of-the  Fine'Arts,  1897;  gold  medal  at  the  Paris  Exposition,  1900;  Saltus  medal 


i/ 


46 

of  the  National  Academy  of  Design,  New  York,  1909.  A  member  of  the 
academy  since  1901. 

Began  as  a  genre  painter  of  Indians  and  in  his  stoiy-telling  pictures  of 
Indians  he  represents  the  most  poetical  treatment  of  the  subject  that  has  yet 
been  achieved.  Best  examples  are,  "  Silence  broken,"  "  Mourning  her  brave," 
"The  Indian  hunter,"  "The  Indian  and  the  lily."  For  a  number  of  years 
he  has  confined  himself  lo  one  subject — the  modern  madonna,  his  wife  and 
children  serving  as  his  models.  His  "Madonna"  in  the  Corcoran  Gallery  of 
Art.  Washington,  is  one  of  his  strongest  works.  "In  the  garden"  and  "The 
family  "  are  more  pictorial. 

Technically  Brush's  work  does  not  attract,  but  intellectually  it  is  full  of 
beauty.     (Brush  &  P.  11.) 

"His  drawing  is  strong  and  distingue  and  his  figures  are  interpreted  with 
truth  of  expression."     (Hartmann.) 

Another  critic  says:  "He  has  not  yet  solved  the  mysterious  affinity  be- 
tween certain  colors  and  certain  emotions." 

Kenyon  Cox  says:  "George  deForest  Brush  is  one  of  the  few  painters 
outside  the  ranks  of  the  mural  decorators  who  concerns  himself  primarily 
with  line  and  a  severe  conception  of  form.  He  has  often  fine  color,  also  in  a 
restrained  key,  and  always  a  profound  feeling  for  character  and  for  the  beauty 
of  childhood.  In  its  composition  of  long  flowing  lines,  its  firm  clean  drawing, 
its  subtle  modeling  and  above  all  in  the  beautifully  expressive  heads  and  the 
radiant  charm  of  blond  infancy,  his  "In  the  garden"  is  worthy  of  one  of  those 
fifteenth-century  Florentines  with  whom  Mr.  Brush  has  much  more  affinity 
than  with  the  average  painter." 

"In  his  "Madonna  pictures"  he  shows  the  pathos  of  motherly  love," 

Cadwalader-Guild,  Emma  Marie,  (S.)  was  bom  in  New  England  but  most 
of  her  work  has  been  done  in  England  and  Germany,  and  is  better  known 
there  than  here. 

Ambassador  White  after  seeing  her  work  in  Gennany  urged  her  to  return 
to  the  United  States  and  make  a  bust  of  President  McKinley.  Through 
correspondence,  sittings  were  agreed  upon;  she  came  but  they  were  not  given; 
she  then  modeled  the  bust  from  prints.  Mr.  Hanna  entered  a  bill  in  Congress 
for  the  purchase  of  the  bust,  so  pleased  was  he  with  it,  and  it  is  now  in  the 
president's  room  of  the  Capitol  at  Washington. 

Mrs.  Guild  has  also  made  a  striking  bust  of  Lincoln.  John  Hay  said  of 
it:  "The  power  of  the  head  is  remarkable.  It  is  a  great  expression  of  the 
personality  of  the  man." 

Her  two  busts  of  Gladstone — one  in  bronze,  one  in  marble,  are  the  only 
one.s  for  which  Mr.  Gladstone  gave  sittings. 

When  her  bust  of  George  Frederick  Watts  was  completed  he  said:  "  When 
I  look  at  that  bust  I  can  understand  how  that  man  could  have  painted  that 
picture"  (pointing  to  one  of  his  own.) 


47 

Mrs.  Guild  numbers  royalty  among  her  distinguished  patrons. 

Her  idealistic  heads  and  statues  are  as  remarkable  as  her  portraits.  Of 
her  "Lotos,"  the  Gennan  Times  says:  "This  psychic  masterpiece  stamps 
Mrs.  Guild  imequi vocally  as  an  artist  of  the  very  first  rank."  A  bronze 
statuette  called  "Freed"  has  been  exhibited  in  the  Paris  salon,  at  the  Royal 
Academy,  London,  and  at  Munich.  Her  "  Head  of  St.  Monica,  the  mother 
of  St.  Augustine  "  is  a  charming  study.  The  German  government  purchased 
her  "Electron"  and  placed  it  in  the  Post-museum  at  Berlin.  The  pose  of 
her  "End^Tuion"  is  not  to  be  found  in  either  modern  or  ancient  sculpture. 

"Mrs.  Guild  is  careful  in  her  anatomical  study  but  works  without  model: 
and  her  results  strengthen  the  suspicion  that  in  poses  involving  a  repre- 
sentation of  movement,  however  slight,  the  appearance  of  a  stationan,'  model 
is  false  in  detail  to  the  exact  appearance  in  motion." 

"Mrs.  Guild  is  a  painter  as  well  as  scupltor  and  known  abroad  as  one  of 
superior  merit." 

Carlsex,  E^ul,  (P.)  b.  Copenhagen,  Denmark,  October  19,  1853.  Was 
educated  in  his  native  city  and  came  to  the  United  States  in  1872.  He  has 
what  the  late  Frank  Fow^ler  has  described  as  a  kind  of  speciaUzed  vision, 
ver}'  charming  and  verj"-  fine.  Coming  from  Denmark  he  brought  with  liim 
the  old  Vikings  love  of  the  great  waters.  His  poetic  interpretation  of  their 
beauty  has  met  with  universal  recognition.  Medals  and  prizes  have  been 
awarded  him  in  many  exhibitions  and  he  was  elected  a  member  of  the  National 
Academy  in  1906. 

"He  contents  himself  with  quiet  middle  tones,  never  forcing  his  gamut 
to  extremes  of  light  or  shades,  but  his  surfaces  are  lovely,  his  paintings  in- 
variably mature."     (Int.  Studio  39:10.) 

"His  landscape  work  was  the  quaUtj'^  of  his  still-life  studies  of  game  or 
fish:  broad  unbroken  masses  of  color  strongly  reUeved  against  each  other, 
whether  simht  trees  against  a  deep  blue  sky  or  a  white  swan  against  a  dead 
wall,  the  contrast  not  being  relied  on  alone  for  the  effect, — ^but  the  color 
being  made  as  absolutely  true  as  in  his  vigorous  works."     (Isham.) 

Admired  paintings  are: 

"The  quiet  sea "  "  Wild  swan " 

"  Meeting  of  the  seas  "  "  Maj^  morning  " 

' '  The  open  sea  "  "  The  panel " 

Kenyon  Cox  says:  "Beauty  is  his  aim,  and  the  facts  and  the  force  of 
nature  are  both  subordinated  to  decoration.  In  the  "Open  sea"  it  is  the 
exquisitely  varied  blues  and  grays  of  sky  and  water  that  have  charmed  him. 
while  in  his  "Surf"  it  is  not  crash  and  roar  that  we  are  made  to  feel,  but  the 
bold  pattern  of  black  and  white  and  blue." 

Carpenter,  Francis  Bickwell,  (P.)  b.  Homer,  N.  Y.,  August  6,  1830;  d. 


48 

New  York  May  23,  1900.  He  was  a  pupil  of  Sanford  Thayer  at  Syracuse, 
N.  Y.     Won  much  fame  as  a  painter  and  also  possessed  much  literary  ability. 

His  painting  "Arbitration,"  representing  the  signing  of  the  treaty  of 
Washington,  was  accepted  by  Queen  Victoria  and  hung  in  her  private  col- 
lection. His  portrait  of  President  Fillmore  was  purchased  by  the  city  of 
New  York  and  hangs  in  the  City  Hall.  "First  reading  of  the  Emancipation 
proclamation  before  the  cabinet"  now  hangs  on  the  stairway  of  the  House 
of  Representatives,  Washington. 

Mr.  Carpenter  was  elected  associate  member  of  the  National  Academy 
in  1852. 

Cassatt,  Mary,  (P.,  E.)  b.  Pittsburgh,  Pa.,  1855.  Her  first  studies  in 
art  were  at  the  Pennsylvania  Academy  of  the  Fine  Arts,  Philadelphia.  After 
traveling  extensively  in  Spain,  Italy  and  Holland  she  settled  in  Paris,  and 
Degas,  convinced  of  her  ability  and  sincerity,  consented  to  take  her  as  a 
pupil  and  for  fifteen  years  she  studied  and  worked  with  him,  achieving  in 
time  a  position  not  far  below  his  own. 

At  various  intervals  Miss  Cassatt  has  devoted  herself  to  painting  in  oils 
and  pastels,  to  color-etching,  dry  point  and  even  lithography.  While  her 
range  of  expression  is  wide,  her  choice  of  motive  is  restricted.  For  the  most 
part  she  transcribes  the  intimate  relationship  of  mother  and  child.  She 
always  avoids  a  sentimental  version  of  child  life.  "Beauty  is  there,  but  not 
a  sugary,  waxen  beauty." 

Among  her  most  characteristic  works  are: 

"The  Toilet" 

"Women  and  child"  Eltrlier  works  are: 

"The  caress" 

"Baby  arises"  "At  the  French  theater" 

"The  cup  of  tea"  "After  the  bullfight" 

"  The  reading  lesson  "  "  Music  lesson  " 

"Children  playing  with  a  cat"  "On  the  balcony" 

"Mother  and  child" 

"Supper-time" 

Miss  Cassatt,  a  follower  of  the  School  of  Manet,  sends  her  canvases  to  the 
Impressionists'  exhibitions  in  Paris,  but  she  refuses  to  exhibit  in  the  salons, 
and  in  her  indifference  to  their  applause  she  stands  alone.  All  other  Parisian 
American  artists  have  regularly  displayed  their  works  in  the  great  com- 
jjetitive  exhibitions.  Miss  Cassatt  is  a  member  of  the  Legion  of  Honor  of 
France,  and  her  work  takes  rank  beside  that  of  the  foremost  modem  masters. 

"  Her  work  is  resolute,  thoughtful  and  lucid.  Much  of  her  master's  strength 
of  line  is  there,  and  much  also  of  his  solemn,  almost  classic  restraint.  Miss 
Cassatt  has  never  faltered  in  her  allegiance  to  the  tenets  of  Impressionists." 
(Int.  studio  27:8up,  1.) 


4? 

"  She  has  succeeded  m  creating  a  new  style  and  lending  to  prose  and  realism 
a  decorative  quality  best  displayed  in  her  colored  etchings.  In  sheer  force 
and  breadth  of  view  few  men  artists  could  rival  her  "Mother  and  child" 
pictures."     (Hartmann.) 

Perception  of  and  sympathy  for  the  wonderfully  initmate  relation  existing 
between  mother  and  child  are  the  qualities  which  stand  out  prominently 
in  the  work  of  Miss  Cassatt.     (Elizabeth  Anna  Semple.) 

Chief  distinction  of  Miss  Cassatt's  art  is  closeness  of  intei'pretation  united 
to  the  impressionist's  care  for  the  transitory-  aspect  of  things.  (Elizabeth 
Luther  Car}\) 

"The  secret  of  compressed  statement  is  hers,  of  condensed  significance. 
(Frank  Weitenkampf.) 

Champney,  James  Wells,  (P.)  b.  Boston.  Mass.,  July  16,  1843;  d.  New 
York,  May  1,  1903.  Began  his  art  education  with  a  wood  engraver  in  Boston. 
Studied  in  Europe  under  Edouard  Frere,  Paris,  and  at  Antwerp  under  Van 
Lerius,  1868-9.  In  1882  he  was  made  associate  member  of  National  Academy. 
Was  an  exhibitor  of  oil  paintings  at  the  Centennial  Exhibition,  1876,  and  of 
pastels  at  World's  Columbian  Exposition,  1893. 

On  account  of  the  number  of  Boston  artists  bearing  his  surname,  he  signed 
his  early  pictures  "Champ,"  but  later  gave  his  full  name. 

Early  and  popular  pictures: 

" Not  as  ugly  as  he  looks "  "The  best  scholar  " 

"Boy  shelUng  peas "  "  Which  is  umpire " 

"Hearts  and  diamonds"  "Grandma's  pet" 

"The  sear  leaf  "  " Don't  touch " 

"  Your  good  health  "  "  Children  roasting  apples  " 
"Speak,  sir" 

The  most  successful  paintings  are  genre  subjects,  quiet  and  simple  in  their 
nature. 

During  the  last  few  years  of  his  Ufe,  Mr.  Champney  made  a  specialty  of 
pastel  pictures  and  achieved  remarkable  success  in  this  branch  of  art. 

A  few  of  his  later  pictures  are : 

"The  squire's  daughter"  "The  fioAver  of  New  England" 

"Ophelia"  "Sylvia" 

' '  Indian  summer  "  "  Mignon  " 

"A  song  without  words"  "Little  Mistress  Dorothj^" 

"The  best  scholar" 

Chandler,    George    W.,    (E.,    I.)    b.    Milwaukee,    Wis.     Early   evinced 

7 


y 


60 

artistic  tendencies  and  was  employed  as  an  illustrator  on  the  NewYork 
daily  papers.  After  some  foreign  travel,  entered  the  Academie  Jiilien,  Paris 
in  the  classes  of  Jean  Paul  Laurens.  In  1908  received  honorable  mention 
at  the  salon. 

India  forms  the  setting  for  some  of  his  finest  plates: 

"The  minarets,  Benares"  "The  burning  ghats,  Benares" 

Parisian  scenes: 

"Les  travaux  du  Metro"  "Le  dejeuner" 

"Dans  I'Avenue  de  Saxe"  "Aux  bords  de  la  Seine" 

Evidence  of  his  versatiUty,  as  well  as  his  understanding  of  pastoral  beauties 
may  be  found  in  "Le  Moulin  Moret,"  "The  old  lock,"  "Cour  de  Cerf "  and 
"Cour  h  pont  I'Arche";  "Le  portail  de  St.  ]Maclou,  Rouen,"  is  an  expression 
of  sombre  beauty. 

"He  gives  us  not  only  the  lacy  fretwork  of  the  vaulted  doorway,  but  we 
enter  with  him  into  the  shadow  of  a  dim  interior,  heavy  with  the  incense  of 
a  by-gone  age."     (Marie  Bruette.) 

Chapman,  John  Gadsby,  (E.,  P.)  b.  Alexandria,  Va.,  December  8,  1808; 
d.  Brooklyn,  N.  Y.,  July  6,  1890.  One  of  the  most  important  of  the  early 
etchers  in  the  United  States,  made  his  first  attempt  at  etching  in  1843 ;  etched 
in  Rome  from  1852  to  1857,  where  he  studied  art.  First  became  knoAvn  as 
an  etcher  in  New  York  City  where  he  did  much  good  work  for  Harper  &  Bros. 

His  versatility  was  remarkable — portraits,  landscapes,  engraving  and 
etching  being  alike  within  the  compass  of  his  ability.  For  fifty-three  years 
he  was  a  member  of  the  National  Academy  of  Design. 

His  "Baptism  of  Pocahontas"  in  the  rotunda  of  the  Capitol  at  Wash- 
ington, is  the  painting  by  which  he  is  best  known. 

Mr.  Chapman  was  the  first  American  to  write  on  etching. 

Chase,  William  Merritt,  (P.)  b.  Franklin,  Ind.,  November  1,  1849.  At 
the  age  of  nineteen  began  the  study  of  art  in  Indianapolis;  also  studied  in 
New  York,  later  in  the  Munich  Royal  Academy  and  afterwards  had  Alexander 
Wagner  for  a  teacher;  also  was  a  pupil  of  Karl  von  Piloty.  He  refused  a 
professorship  in  the  Munich  Royal  Academy  and  returned  to  America.  In 
1885  he  was  elected  president  of  the  Society  of  American  Artists  and  re- 
elected every  year  thereafter  for  ten  years.  After  conducting  winter  classes 
at  the  Art  Students'  League  for  eighteen  years,  in  1897  he  organized  a  distinct 
school  of  his  own  known  as  the  "Chase  School  for  Art."  Aside  from  his 
work  in  New  York,  he  has  taught  for  a  number  of  years  at  the  Pennsylvania 
Academy  of  the  Fine  Arts  and  at  the  Hartford  Art  School.     His  summer 


51 

school  at  Shinnecock.  L.  I.,  is  famous.  His  influence  as  an  instructor  is  the 
most  far-reaching  of  any  artist  in  America  and  probably  of  any  country-,  and 
his  traveling  classes  abroad  are  a  feature  in  the  progress  of  American  art. 
He  is  one  of  the  foremost  landscapists  and  portraitists,  and  the  best  "still- 
life"  painter  in  America.  A  member  of  the  National  Academj*  of  Design 
since  1890. 

The  beginning  of  his  reputation  as  a  painter  was  made  when  he  exhibited 
his  "Court  jester"  in  1876;  his  "Smoker"  (the  portrait  of  Frank  Duveneck) 
won  for  him  honorable  mention  in  the  Paris  salon  and  at  a  Munich  exposition. 

His  most  famous  portraits  are  those  of  his  mother,  "My  daughter  Helen," 
Mrs.  Tyler,  Dr.  Osier  and  Thomas  Dolan.  Among  his  fanciful  pictures  are 
"AUce,"  "Dorothy  and  her  sister,"  "The  red  box,"  "Rmg  toss,"  "Girl  with 
dog,"  "Ready  for  the  ride,"  "The  gray  kimona,"  "The  open  Japanese  book." 
These  ser\^e  well  to  illustrate  the  distinctive  quaUty  of  Chase's  color  sense. 
(Craftsman  18:33.) 

Mr.  Chase  is  world-famous  for  his  painting  of  brass  and  other  metals; 
and  he  paints  the  gold  frame  of  the  picture  within  his  picture  with  sufficient 
skill  to  stand  comparison  ^vith  the  real  frame. 

Of  his  brush  work,  Hartmann  says:  "There  are  passages  in  some  of 
his  pictures  which  even  brush  magicians  like  Whistler  and  Zom  cannot 
surpass.  Chase  is  always  clever.  "Clever"  is  a  word  often  misused.  It 
is  well  appUed  to  him." 

^Ir.  Chase's  portrait  hangs  in  the  Uffizi,  Florence,  Italy,  in  the  famous 
gallery  devoted  to  the  portraits  of  painters  hj  themselves.  This  is  an  em- 
phatic recognition  of  his  achievement  and  his  standing  in  the  profession  of 
art.  Only  two  other  American  artists  have  been  thus  honored — Healy  and 
Sargent. 

In  1903  he  was  elected  a  member  of  "Ten  American  Painters"  to  fill  the 
vacancy  caused  by  the  death  of  John  Henr\-  Twachtman. 

Kenyon  Cox  says:  "His  picture  in  the  Heam  collection,  with  its  somber 
glow  of  copper  in  the  dark  backgroimd,  its  iiidescent,  gleaming  fish,  its  one 
red  apple,  and  its  two  wonderfully  painted  green  peppers,  is  a  masterpiece 
which  no  h^^ng  painter  could  surpass  in  its  own  way." 

Christy,  Howard  Chandler,  (I.)  b.  Morgan  county,  Ohio,  January  10, 
1873.  Was  educated  at  Duncan  Falls,  Ohio.  At  the  age  of  twenty  he  entered 
the  National  Academy  of  Design,  New  York,  and  in  two  months  had  won 
honorable  mention  and  one  bronze  medal.  He  studied  under  WiUiam  M. 
Chase  and  later  became  instructor  in  Cooper  Union,  the  Chase  School,  New 
York  School  of  Art  and  the  Art  Students  League. 

During  the  Spanish-American  war  was  with  the  Rough  Riders  before 
Santiago  and  established  his  reputation  by  his  Cuban  pictures  and  tjrpes 
of  the  navy  and  army  men.     He  wrote  war  stories  and  illustrated  them 


52 

for  Scribner's  and  Leslie's  Weekly,  and  has  made  hundreds  of  illustrations 
for  other  publications. 

Among  his  best  known  and  most  popular  works  were  his  pictures  illustrating 
"Miles  Standish"  and  "Evangeline."  Mr.  Christy  is  famous  as  the  painter 
of  the  American  girl. 

His  art  is  of  a  high  romanticism  in  conception  and  academic  in  its  execution. 


y 


Church,  Frederick  Edwin,  (P.)  b.  Hartford,  Conn.,  May  4,  1826;  d.  New 
York,  April  7,  1900.  The  pupil  of  Thomas  Cole,  he  resided  with  him  at 
Catskill,  N.  Y.,  thus  gaining  the  first  inspirations  along  the  shores  of  the 
Hudson  and  amid  the  beautiful  regions  of  the  legendary  Catskills.  Es- 
tablished a  studio  in  New  York  and  was  elected  an  academician  of  the  National 
Academy  in  1849.  Made  sketching  tours  in  South  America  in  1853  and 
1857;  later,  on  the  coast  of  Labrador  and  in  Jamaica.  In  1868  visited  Europe 
and  the  Holy  Land.     Visited  Mexico  in  1883. 

Church's  "Niagara"  was  immediately  recognized  as  the  first  satisfactory 
delineation  in  art  of  one  of  the  greatest  natural  wonders  of  the  western  world, 
and  this  is  in  itself  extraordinary  praise.  It  received  medal  at  the  Paris 
Exposition  of  1867.  When  Ruskin  first  saw  this  painting  he  pointed  out  an 
effect  upon  water  which  he  declared  he  had  often  seen  in  nature  among  the 
Swiss  waterfalls,  but  never  before  on  canvas. 

Among  his  works  sketched  on  his  extensive  tours  are: 

"  Icebergs  "  "  Rainy  season  in  the  tropics  " 

"  A  South  American  landscape  "  "  Heart  of  the  Andes  " 

"The  afterglow"  "El  Khasn6  Petra" 

"Andes  of  Ecuador"  .  .  "Cotopaxi" 

"Chimborazo"  "Twilight  in  the  wilderness" 

"  Morning  in  the  Cordilleras  "  "  View  of  Quebec  " 

"Jerusalem"        -  "Aurora  borealis" 

Church's  works  are  generally  composite  rather  than  a  transcription  of 
actual  landscape. 

Church,  Frederick  Stuart,  (P.,  I.,  E.)  b.  Grand  Rapids,  Mich.,  December 
1,  1842.  Studied  in  the  Chicago  Academy  with  Walter  Shirlaw  and  later 
in  the  National  Academy  of  Design  and  Art  Students'  League  of  New  York, 
and  for  some  years  has  occupied  a  studio  in  that  city.  His  first  popularity 
was  gained  b}'  his  drawing  in  Ijlack  and  white;  he  furnished  book  and  maga- 
zine illustrations  for  Scribner's  and  other  publication  houses;  then  oil  and 
water-color  work  attracted  his  attention. 

Is  a  member  of  the  National  Academy  of  Design,  New  York,  Society  of 
Painter-Etchers,  London,  and  the  New  York  and  Philadelphia  etching  clubs. 

"Una  and  the  lion,"  "The  lion  in  love,"  "Beauty  and  the  beast,"  "The 


53 

black  orchid,"  "The  sorceress,"  and  "Twilight"  are  familiar  examples  of 
his  graceful  realization  of  purely  fanciful  themes. 

Of  his  works,  Isham  in  his  "History  of  American  painting,"  says:     "The}' 

are  not  profound,  they  are  not  subtle yet  if  they  have  the  simphcity 

of  a  story  told  to  children,  they  have  also  freshness  and  charm.  If  the 
draAxnng  is  loose,  it  is  also  graceful." 

There  are  probably  no  more  popular  etchings  than  his,  w^herein  a  graceful 
and  humorous  fancy  charms  us  all.     His  "Mermaid"  is  a  well-known  plate. 

Clark,  Walter  Appletox,  (I.)  b.  Worcester,  Mass.,  June  24,  1876;  d. 
New  York  City,  December  27,  1906.  With  a  purely  local  art  training  of 
some  three  years,  he  established  himself  as  one  of  the  leading  illustrators 
of  the  day.  Taught  classes  at  the  Art  Students'  League  and  Cooper  Union, 
N.  Y.  and  at  the  Pennsylvania  Academy  of  the  Fine  Arts. 

A  picture  of  his  on  the  wall  of  the  Art  Students'  League,  while  a  student, 
attracted  the  attention  of  the  art  editor  of  Scribner's  magazine;  this  led  to 
his  being  employed  to  illustrate  one  of  Kipling's  stories.  Among  his  latest 
works  was  the  illustration  of  the  modern  version  of  "Canterburj-  Tales"  by 
Percy  Mackaye. 

"Mr.  Clark's  strong  point  is  his  execution,  he  has  a  nice  clean  dexterity 
of  touch,  employed  with  nobiUty  and  ease." 

"In  finish  he  obtains  the  feeling  noticeable  in  the  color  work  of  Vibert 
and  his  compositions  are  handled  with  the  adroitness  of  Fortunj-,  with  less 
dash,  however,  but  with  more  delicate  s\Tnpathy  and  refinement." 

Clarke,  Thomas  Shields,  (S.,  P.)  b.  Pittsburgh,  Pa.,  April  25,  1860. 
Graduated  at  Princeton  University  in  1882.  While  a  student  at  the  Art 
League  in  New  York,  he  made  illustrations  for  magazines.  Going  to  Paris, 
he  studied  drawing  under  Boulanger  and  Lefebvre,  modeling  under  Chapu 
and  painting  under  Gerome  in  the  Ecole  des  Beaux  Arts;  later  was  instructed 
by  Dagnan-Bouveret ;  also  studied  art  in  Florence,  Rome  and  Venice.  As- 
sociate member  of  National  Academy  of  Design,  1902. 

His  paintings  and  sculpture  have  brought  him  honor  at  home  and  abroad, 
he  having  been  represented  at  international  expositions  at  Berlin,  Madrid, 
London  and  Paris. 

His  "Night  market  in  Morocco"  received  official  recognition  at  the  Berlin 
Exposition  in  1891;  "A  fool's  fool"  was  shown  at  the  Paris  salon,  and  upon 
its  merits  he  was  admitted  to  membership  in  the  Society  of  American  Artists, 
New  York.  "A  gondola  girl,"  "Morning,  noon  and  night"  and  other  Vene- 
tian works  are  attractive. 

His  bronze  group — fountain  design — "The  cider  press,"  displayed  at  the 
Madrid  Exposition,  brought  him  a  medal  of  honor,  presented  personally  by 
the  King  of  Spain. 

Four  caryatides — "The  seasons" — on  the  New   York   Appellate   Court 


54 

building  are  dignified  and  graceful.  His  more  important  work  in  sculpture 
is  "Alma  Plater  and  her  son  Alumnus,"  for  Princeton  University.  "These 
figures  are  splendidly  modeled  and  thoughtfully  conceived." 

Mr.  Clarke  has  also  done  some  notable  mural  decoration. 

(Brush  &  P.  6:195.) 

\/  Cole,  Thomas,  (P.)  b.  Bolton-le-Moor,  Lancashire,  England,  February  1, 
1801;  d.  Catskill,  N.  Y.,  Februarys  11,  1848.  Was  of  American  parentage, 
and  in  1819  the  family  returned  to  America  taking  up  their  residence  at 
Stubenville,  Ohio,  where  he  began  the  study  of  painting  under  a  portrait 
painter  named  Stein.  Not  successful  in  portrait  work,  he  took  up  landscape 
painting.  In  1825  he  went  to  New  York,  subsequently  became  intimately 
acquainted  with  Durand  and  Trumbull.  He  was  one  of  the  founders  of  the 
National  Academy  of  Design  and  had  a  picture  at  its  first  exhibition  in  1826. 
A  patron  sent  him  to  Europe  in  1829  to  complete  his  art  education  and  he 
remained  there  about  three  years  sketching  and  painting  in  England,  France 
and  Italy.  After  his  return  he  painted  two  allegorical  series,  "The  course  of 
empire"  and  "Voyage  of  life."  These  soon  won  him  great  contemporary 
popularity.  •  (Noble's  "Life  and  works  of  Thomas  Cole.")  These  paintings 
were  exhibited  in  the  rooms  of  the  New  York  Art  Union  in  1848  and  were 
visited  by  a  half  milhon  people.  Other  paintings  depict  scenes  from  an 
extreme  range  of  landscape. 

"All  are  remarkable  for  imagination,  composition  and  the  most  refined 
and  picturesque  truth  to  the  details,  as  facts  and  influences  of  nature." 
(Tuckerman.) 

His  most  beautiful  illustrations  of  Italian  scenery  are  "T Allegro"  and 
"II  Penseroso,"  companion  pieces.  Of  American  views  one  of  the  most 
attractive  is  "The  hunter's  return."  One  of  his  most  highly  finished  works 
is  a  picture  illustrating  Mrs.  Hemans'  poem  "The  cross  in  the  wilderness." 
"The  tone  of  the  picture  is  quite  Claude-Uke."  (Tuckerman.)  Caffin  says: 
"Cole  forms  a  link  between  the  new  enthusiasm  for  nature  study  and  the 
older  predilection  for  historical  and  "grand  style"  subjects."  According 
to  this  authority  his  more  enduring  claim,  however,  to  be  remembered 
consists  in  his  having  aroused  an  appreciation  of  the  pictorial  possibilities  of 
the  Catskill,  and  of  American  landscape  in  general.  He  makes  nature  the 
vehicle  for  moral  allegories. 

CoMAN,  Charlotte  Buell,  (P.)  b.  Waterville,  New  York,  1833.  Studied 
in  Paris  with  Harry  Thompson  and  Emile  Vernier;  spent  six  years  in  France 
and  Holland  and  exhibited  at  the  Paris  salons  for  two  years.  Mrs.  Coman's 
specialty  in  painting  is  landscapes  and  she  was  thirty  years  of  age  before 
she  commenced  the  study  of  art.  She  received  the  Shaw  memorial  i)rize  of 
the  Society  of  American  Artists,  second  prize  of  the  Washington  Society  of 
Artists,  1906.     Was  elected  associate  member  National  Academy  of  Design, 


55 

1910.  Is  represented  in  the  Evans  collection,  Washington,  D.  C,  the  Metro- 
politan jNIuseum,  Xew  York,  and  in  the  permanent  collections  of  several 
western  clubs. 

"Clearing  off"  is  one  of  her  strongest,  and  "A  misty  morning  at  the  farm" 
is  one  of  her  best. 

Craftsman  21:491:  "But  to  return  to  the  academy  walls  one  seeks  again 
and  again  Charlotte  Coman's  beautiful  painting  of  hills  and  clouds.  What 
sunlight  pours  over  the  friendly  little  house  nestling  in  the  shadowy  meadows, 
a  deUghtful  study,  tenderly  painted,  a  thing  to  remember  and  to  rejoice  in." 

Critics  of  high  repute  declare  that  ifrs.  Coman  is  doing  her  best  work  now 
at  the  age  of  eighty. 

Cooper,  Colin  Campbell,  (P.)  b.  Philadelphia,  Pa.  Studied  in  Pennsyl- 
vania Academy  of  the  Fine  Arts,  Philadelphia,  Academie  .Tulien  and  other 
art  schools  in  Paris.  Is  a  member  of  many  leading  art  clubs  in  this  country', 
and  has  been  awarded  many  medals  and  prizes.  Is  an  associate  member 
of  the  National  Academy.  Has  spent  much  time  in  Europe  painting  figure 
and  architectural  subjects,  architecture  and  street  scenes  being  his  specialty. 
*'Beauvis  cathedral,"  one  of  the  notable  historical  structures  of  France,  is 
considered  his  finest  work.  Mr.  Cooper's  notable  achievement  is  his  long 
series  of  canvases  depicting  the  picturesque  charm  of  the  modern  sky-scraper; 
he  began  this  work  in  1902.  He  sees  beauty,  subUmity  and  grandeur  in  the 
structures  that  the  average  person  is  wont  to  call  monstrosities. 

He  handles  water-colors  on  canvas  so  cleverly  that  his  water-colors  can 
scarcely  be  distinguished  from  oils. 

"Broad  street,  Xew  York,"  "Rush  hour  Brooklyn  bridge,"  "Broadway," 
"The  chain  gate,"  "The  Flatiron  building,"  "Walton  hotel,  Philadelphia," 
and  a  scene  in  Penn  Square,  are  additional  proof  of  his  skill  in  clothing  the 
common  place  brick  and  mortar  of  the  business  block  ^^'ith  rich  warm  colors 
of  their  owti. 

"That  Cooper  has  the  natural  gift  of  seeing  the  beauty  of  what  to  most 
people  are  prosaic  structures,  and  the  patience  and  persistence  to  perfect 
his  delineation  of  street  and  building,  is  the  secret  of  his  success  as  an  archi- 
tectural painter."     (Brush  &  P.  18:72.) 

Cooper,  Emma  Lampert  (Mrs.  Colin  Campbell  Cooper),  (P.)  b.  Nunda, 
New  York.  Began  the  study  of  art  at  the  Cooper  Union  and  Art  Students' 
League  in  New  York  and  later  was  the  pupil  of  Harrj'  Thompson  in  Paris,  J. 
Kever  in  Holland  and  William  M.  Chase  in  New  York;  has  also  studied  in 
Italy. 

Mrs.  Cooper  has  had  charge  of  the  art  department  at  Foster  School,  Chfton 
Springs,  also  of  the  painting  classes  at  ^lechanics  Institute,  New  York. 

Interiors  and  street  scenes  from  France,  Holland,  Belgium,  Italy  and 
Switzerland,  painted  in  oils  and  water  colors,  are  her  favorite  subjects. 


50 


Representative  pictures  are: 


"  Morning  near  Riverdale  "  "  News  of  the  day  " 

"  High  noon,  Cape  Ann  "  "  Weaving  homespun  " 

"  Mother  Claudia's  fireside  "  "  Swiss  fireplace  " 

"The  breadwinner"  " Canal  at  Lisieux " 

"Breton  bakery"  " Old  dye  house " 

Xy^  Copley,  John  Singleton,  (P.)  b.  Boston,  Mass.,  July  3,  1737;  d.  London, 
England,  September  9.  1815.  At  th^age  of  seventeen  he  produced  his  first 
grouped  picture — an  allegorical  study  of  Mars,  Venus  and  Vulcan.  From 
that  time  he  was  recognized  as  a  painter.  Through  the  influence  of  Benjamin 
West  his  "Boy  with  the  squirrel"  was  exhibited  in  London  in  1766,  and  in 
1772  he  was  elected  a  fellow  of  the  Society  of  Artists.  In  1774  he  settled  in 
London  and  became  a  notable  painter  of  historical  scenes.  In  1776  he  was 
elected  associate  of  the  Royal  Academy,  and  in  1779,  academician,  and 
presented,  on  admission,  his  "Tribute  money."  His  "Death  of  the  Earl 
of  Chatham"  established  his  fame  in  England. 

He  opposed  the  classical  productions  of  the  age  by  his  vigorous  repre- 
sentations of  events  of  history  and  war.  Among  his  numerous  subjects  in 
this  line  are:  "Death  of  ^lajor  Pierson,"  "Siege  of  Gibraltar,"  "Surrender 
of  Admiral  de  Windt  to  Lord  Camperdown,"  "Charles  I  demanding  the  five 
impeached  members,"  "Charles  I  signing  Strafford's  death  warrant,"  "Offer 
of  crown  to  Lady  Jane  Grey,"  "Assassination  of  Buckingham."  He  also 
painted  religious  subjects  and  large  portrait  groups  of  noted  English  families. 
But  of  his  earlier  work — that  done  before  he  left  Boston,  which  consists  of  a 
long  series  of  portraits  of  our  colonial  dignitaries,  divines,  judges  and  mer- 
chants— Tsham  says:  "These  paintings  are  the  most  authentic  records  of  our 
pre-revoluntionary  ancestors  which  have  come  down  to  us." 

Copley's  best  known  portraits  in  America  are  those  of  John  Adams  and 
John  Hancock. 

Caffin  says:  "Copley  was  the  most  distinguished  in  skill  of  craftsmanship 
of  all  the  pre-revolutionary  painters." 

Copley  was  not  poetical,  but  he  produced  splendid  prose. 

Cory,  Fanny  Young  (Mrs.  F.  W.  Cooney),  (I.)  b.  Waukegan,  111.,  October 
17,  1877.  Studied  art  at  the  Metropolitan  School  and  the  Art  Students' 
League  of  New  York.     Married  to  F.  W.  Cooney,  1904. 

Has  made  illustrations  for  the  Century  Company  and  Harper  Bros,  and 
illustrated  nvmierous  books,  including  "Alice  in  Wonderland,"  "Through 
the  looking  glass,"  etc. 

Favorite  children  pictures  are: 

"Do  you  make  saucer  pies?"  "Shoo!" 

"On  the  dark  stair" 


67 

CouDERT,  Amalia  Kussxer.  (Mill,  p.)  b.  Terre  Haute,  Ind..  March  26, 
1876;  began  her  artistic  career  in  Xew  York  in  1892  and  aftein^ards  went  to 
London  and  painted  miniature  portraits  of  King  Edward  and  most  of  the 
highest  aristocracy  of  England;  later  she  was  summoned  to  Russia  to  paint 
portraits  of  the  Czar  and  Czarina  and  the  Grand  Duchesses  Vladimir  and 
Ellen  and  also  went  to  Africa  to  paint  the  portrait  of  the  late  Cecil  Rhodes. 

Coupf:R,  William,  (S.)  b.  Norfolk,  Va.,  September  20,  1853.  Pupil  of 
Thomas  Ball  and  Cooper  Institute  in  XeAv  York;  also  studied  in  Munich  and 
Paris. 

Lorado  Taft  says:     "His  Closes"   in  the  appellate  court  building  is  a 
magnificent  conception  and  justly  admiretl,  its  onh'  weakness  is  over-elabora- 
tion .......   Mr.  Couper  has  made  particular  and  sjTnpathetic  study  of 

winged  figures.  They  are  not  merely  pretty  but  they  are  beautiful,  radiant 
creations,  gracefully  conceived,  carefully  drawn  and  exquisitely  carved." 

^Ir.  Couper  is  a  member  of  the  National  Sculpture  Society. 

CousE,  Eaxger  Irving,  (P.)  b.  Saginaw,  Mich.,  1866.  Pupil  of  National 
Academy,  New  York,  Bouguereau,  Robert-Fleury  and  Ecole  des  Beaux 
Arts,  Paris.  Received  the  Shaw  prize  for  black  and  white,  at  Salmagundi 
Club,  1899;  second  Hallgarten  prize  National  Academy,  1900;  Proctor  prize, 
Salmagundi  Club,  1900;  honorable  mention,  Paris  Exposition,  1900;  first 
Hallgarten  prize  National  Academy,  1902.  Associate  member  National 
Academy  of  Design,  1902;  academician,  1911. 

Devotes  himself  to  the  Pueblo  or  to^^n  Indians  of  the  southwest,  painting 
them  in  their  actuality  or  A\'ith  ideal  touch  in  their  home  in  New  Mexico. 
Part  of  the  year  he  passes  at  Taos,  for  the  portrayal  of  the  Taos  Indians  is 
the  art  of  Mr.  E.  Irving  Couse. 

He  had  much  difficult}'  in  securing  interesting  and  picturesque  models, 
as  it  is  a  matter  of  behef  with  these  Indians  and  in  fact  with  others,  that  the 
soul  of  the  sitter  passes  out  into  the  portrait  when  the  picture  is  completed, 
and  natural!}',  until  the  prejudice  is  overcome,  there  is  not  much  enthusiasm 
about  posing. 

He  paints  the  Indian  not  primarily  as  the  actor  in  a  wild  savage  drama, 
as  Remington  and  Schre}'\'^ogel  have,  but  as  the  peaceful  dweller  in  primitive 
scenes,  revealing  them  often  as  more  poetical  and  philosophical  than  the 
more  so-called  ciA-ilized  races.     (Craftsman  18:619.) 

Admired  works  are: 

"The  mountain  hunter"  "The  wear}'  hunter" 

"  The  magic  forest "  "  Bear  cubs  " 

"Trout  ripples"  "Returning  to  camp" 

"  An  Indian  shepherd  "  "  Medicine  fires  " 

"The  voice  of  the  falls"  "The  trout  streams" 


58 

"Elk-foot"  "The  brook" 

"San  Juan  pottery"  "The  torn  torn  maker" 

"Mending  the  war  bonnet" 

At  the  winter  exhibition  of  the  National  Academy  of  New  York  the  Carne- 
gie prize  of  $500  for  the  most  meritorious  oil  painting  by  an  American  artist 
went  to  Mr.  Couse  for  his  "Indian  making  potter^^" 

CowLES,  Genevieve  Almeda  and  Maud  Alice  (twin  sisters),  (Mural  P. 
and  stained-glass  decorators)  b.  Farmington,  Conn.,  Februaiy  23,  1871. 
Always  lived  in  an  atmosphere  favorable  to  the  cultivation  of  their  naturally 
artistic  tastes.  They  took  up  drawing  at  the  age  of  seven ;  a  little  later  they 
were  taken  to  Europe  and  in  Florence,  Giotto,  Fra  Angelico  and  Botticelli 
impressed  their  imaginations  deeply.  Their  first  series  of  children  were 
drawn  for  Scribners.  They  have  done  much  work  for  magazines,  executed 
stained  glass  windows  in  various  churches,  also  specialized  in  mural  decora^ 
tion. 

Their  mural  decorations  in  Christ  Church,  New  Haven,  Conn.,  are  es])ecially 
noteworthy.  They  represent:  "Prayer  of  the  prisoner,"  "Prayer  of  the 
soul  in  darkness,"  and  "Prayer  of  old  age."  These  are  paintings  of  states 
of  the  soul  and  of  deep  emotions.  They  are  records  of  human  lives  and  not 
mere-imagination. 

Other  works  are.  Memorial  window  and  a  decorative  border  for  the  chancel 
of  Saint  Michael's  Church,  Brooklyn;  a  window  in  memory  of  the  dea- 
coness, Miss  Stillman,  in  Grace  Church,  New  York,  Have  executed  many 
windows  and  other  decorative  Avork  for  churches. 

Miss  Maud  Alice  died  during  the  summer  of  1905. 

Miss  Genevieve  writes:  "I  desire  especially  to  work  for  prisons,  hospitals 
and  asylums — for  those  whose  great  need  of  beauty  seems  often  to  be  for- 
gotten." 

She  contributed  to  the  Craftsman  10:97  a  most  interesting  article  on 
"Building  a  stained  glass  window." 

Cox,  Kenyon,  (P.,  I.,  Mural  V.)  b.  Warren,  O.,  October  27,  1856.  Studied 
in  Cincinnati  and  Philadelphia;  also  in  Paris  under  Carolus-Duran  and  Gerome, 
1877-82;  returned  to  New  York. 

Received  second  Hallgarten  prize  at  the  Academy  exhibition  in  1888, 
and  the  same  year  received  two  prizes  for  works  at  the  Paris  Universal  Ex- 
position. His  pictures  are  principally  portraits  and  figures.  Painted  two 
decorations  in  the  Library  of  Congress,  one  in  Walker  Art  Gallery  Bowdoin 
college,  one  in  Iowa  state  capitol,  frieze  in  court  room  of  appellate  court 
building,  New  York.  As.sociate  member  of  National  Academy,  1900,  full 
member.  1903;  also  member  of  American  Academy  Arts  and  Letters. 

"A  lady  in  black"  was  exhibited  in  the  salon  during  his  Paris  student 


59 

days  and  on  the  merits  of  this  work  he  was  elected  to  the  Society  of  American 
Artists. 

Best  known  paintings  are: 

"Jacob  wrestling  with  the  angel"     "Painting  and  poetry" 
"  Vision  of  moonrise  "  "  FljHng  shadows  " 

Mr.  Cox  is  regarded  as  colorist  of  distinction,  but  especially  excels  as- 
a  draughtsman.  He  is  also  well  known  by  his  critical  wiitings  of  art  and 
by  his  work  in  black  and  white,  including  his  illustrations  to  Rossetti's 
"Blessed  damozel."     (Int.  studio  32:3.) 

Cox,  Louise,  (Mrs.  Kenyon  Cox)  (P.  and  1.)  b.  San  Francisco,  Cal.,  Jime 
23,  1865.  Pupil  of  the  National  Academy  of  Design;  Art  Students'  League 
under  Kenyon  Cox  in  New  York.  Received  third  Hallgarten  prize  X.  A.  D., 
1896;  bronze  medal  Paris  Exposition  1900. 

"Mi's.  Cox  makes  a  specialty  of  children's  portraits  and  some  of  her  hap- 
piest results  have  been  obtained  when  her  own  charming  children  have  acted 
as  the  models."     (Overland  monthly  40:111.) 

Craxe.  Bruce,  (P.)  b.  New  York,  October  17,  1857.  Studied  art  under 
Alexander  H.  Wj-ant.  At  the  age  of  seventeen  while  residing  in  Elizabeth, 
New  Jersey,  he  entered  the  office  of  an  architect  and  builder  and  there  had 
actual  experience  as  a  practical  draughtsman.  In  1878  he  went  abroad 
\dsiting  the  galleries  of  Liverpool,  London  and  Paris.  Exhibited  his  first 
picture,  "An  old  mill  pond  on  Long  Island,"  at  the  National  Academy  in 
1879.  The  summer  of  1882  he  spent  in  the  historic  old  town  of  Grez,  near 
the  forest  of  Fontainebleau. 

Received  the  ^^'ebb  prize.  Society  American  Artists,  1887;  bronze  medal, 
Paris  Exposition,  1900;  the  George  Inness  memorial  gold  medal  National 
Academy,  1901.  An  associate  member  of  the  National  Academy  in  1897, 
full  member.  1901.  He  belongs  distinctly  to  the  plain  air  school  of  landscape 
painters  and  chooses  only  native  subjects.  As  a  teacher  he  has  met  with 
remarkable  success. 

Mr.  Crane  has  produced  a  long  list  of  charming,  poetic  canvases,  being  one 
of  America's  most  idylHc  landscape  painters. 

His  most  notable  canvases  are: 

"Winter"  " Awakenmg  hills " 

"A  haystack "  * ' November  woods " 

"Apple  blossoms "  " Peace  at  night " 

" Brown  and  sere "  "A  black  cloud " 

" Ripening  grain "  "Wasteland" 

"  The  gray  hill "  "  ^^  hite  fields  " 


60 

"Rainbow"  "A  New  England  meadow" 

"Indian  summer"  "Harvest  field" 

"After  the  rain" 

He  writes:  "A  work  of  art  is  not  a  scientific  statement.  It  is  enough 
if  it  be  true  to  itself,  that  is  to  say,  harmonious." 

"It  is  by  the  simple  selection  of  colors  and  the  conscientious  painstaking 
methods  that  Crane  has  achieved  his  notable  successes."     (Brush  &  P.  11:1.) 

Crunelle,  Leonard,  (S.)  b.  Lenz,  France.  His  family  emigrated  to 
America  and  found  work  in  the  coal  mines  near  Decatur,  111.  Leonard 
amused  himself  after  work  by  modeling  figures  out  of  coal.  Lorado  Taft, 
the  sculptor,  discovered  him  and  later  became  his  instructor  in  Chicago. 

Mr.  Crunelle  first  won  recognition  through  his  models  of  babies.  "The 
squirrel  boy  "  is  perhaps  the  most  popular  of  his  later  studies. 

Christine  Bennett  says:  "His  work  has  made  for  itself  a  permanent 
place  and  his  future  promises  a  fulfilment  that  will  rank  him  among  the 
greatest  of  American  sculptors."     (Arts  and  D.  1:406.) 

"Crunelle's  art,"  said  Lorado  Taft,  "reminds  me  of  the  purity  and  sim- 
plicity of  the  old  Florentines.  He  rejoices  in  youth  and  in  the  springtime 
of  Ufe." 

Crowninshield,  Frederic,  (P.,  I.,  Mural  and  stained-glass  designer)  b. 
Boston,  Mass.,  November  27,  1845.  Mr.  Crowninshield  was  educated  at 
Harvard  and  studied  art  with  Rowbotham  in  London.  For  a  number  of 
years  he  lived  in  Italy  and  in  Rome  studied  with  Jean  Achille  Benouville. 
For  three  years  he  lived  in  Siena  where  he  learned  the  technical  secrets  of 
"buon  fresco,"  almost  a  lost  art.  To  this  period  belong  many  of  his  de- 
lightful water  colors.  He  visited  Paris  frequently  and  studied  under  Cabanel 
at  the  Ecole  des  Beaux  Arts  and  worked  with  Couture  in  his  studio  at  V illers- 
le-Bel,  near  Paris.  Shortly  after  his  return  to  the  United  States  in  1878 
Mr.  Crowninshield  was  appointed  instructor  of  drawing,  painting  and  decora- 
tive art  in  the  school  connected  with  the  Boston  Museum  of  P'ine  Arts.  This 
position  he  held  until  1885  during  which  time  he  lectured  on  artistic  anatomy. 

After  moving  to  New  York  he  executed  a  memorable  series  of  stained 
glass  windows.  At  this  time  he  did  his  most  important  mural  painting. 
During  the  past  few  years  he  has  developed  another  side  of  his  talent — 
landscape  painting.  Much  of  his  time  is  devoted  to  guiding  the  activities 
of  the  art  societies  in  New  York.  He  has  been  president  of  the  Fine  Arts 
Federation  of  New  York  since  1900;  is  director  of  the  American  Academy  at 
Rome  and  is  an  associate  member  of  the  National  Academy  of  New  York. 
His  book  "Mural  painting"  is  a  standard  work. 

As  a  painter,  poet,  craftsman,  illustrator,  teacher,  lecturer,  after-dinner 
speaker,  organizer,  he  holds  an  unique  place  in  the  art  world  of  the  United 
States. 


CuRRAN,  Charles  Courtney,  (P.)  b.  Hartford,  Ky.,  t'ebmary  13,  1861. 
Began  to  study  art  at  the  Cincinnati  School  of  Design  then  became  a  pupil 
of  the  Art  Students'  League  and  the  National  Academy  of  Design  of  New 
York;  later  studied  with  Benjamin-Constant  and  Doucet  in  Paris.  In  1900 
he  became  a  member  of  the  American  Arts  Conunission  at  the  Paris  Ex- 
position and  was  assistant  director  of  fine  arts  at  the  Pan-American  Ex- 
position. Has  taught  at  the  Pratt  Institute  and  Art  Students'  League. 
A  member  of  the  Society  of  American  Artists  and  other  art  associations; 
elected  associate  member  of  the  National  Academy  of  Design,  1888;  acade- 
mician, 1904. 

In  1888  his  picture  "A  breezy  day"  received  the  third  Hallgarten  prize 
and  his  "Lotus  lilies  of  Lake  Erie"  won  honorable  mention  in  the  Paris 
salon  of  1890. 

Among  his  most  important  canvases  are: 

"  The  sirens  "  "  The  enchanted  shore  " 

' '  The  Peris  "  "  The  perfume  of  roses  " 

"  A  deep  sea  fantasy  "  "  Catching  minnows  " 

A  series  of  twelve  views  of  the  Jungfrau. 

"His  subjects  include  domestic  genre  and  outdoor  life,  ideal  groups  and 
figures  and  compositions  in  which  his  imagination  takes  free  plaj'  in  the 
depiction  of  the  fancifid  realms  inhabited  by  the  fairies."  (Nat.  C>'c.  Am. 
Biog.) 

"He  enacts  the  doctrine  that  the  truest  appeal  of  oil  and  canvas  should 

be  almost  as  abstract  as  that  of  musical  sounds He  neither  lays 

an  imdue  emphasis  on  drawing  nor  on  elaborate  or  super-refined  coloring, 
though  clean  and  well-controled  in  the  former  direction  and  clear  and  as  a 

rule  full  of  sunlight  in  the  latter Rather  he  controls  and  marks 

his  painting  with  the  needed  sentiment  of  peace  and  relish  in  man  and 
nature."     (Critic  48:39.) 

Dabo,  Leon,  (P.)  b.  Detroit,  Mich.,  July,  1868,  of  French  parents.  Edu- 
cated at  Saint  Ann's  school,  Detroit;  was  also  a  student  at  Ecole  des  Arts 
Decoratifs  and  under  Daniel  Urabietta  \'ierge,  Paris,  and  received  instruc- 
tions from  Galliardi  in  Rome  and  Florence.  Lived  in  Sicily,  Sardinia  and 
Coreica;  returned  to  the  United  States  in  1892.  Is  represented  in  collections 
at  Berlin,  Dresden,  London  National  Gallerj',  New  York,  Washington  Museum 
of  Art,  Detroit  and  other  American  cities. 

The  works  of  this  "poet  in  color"  have  been  uniformly  rejected  by  the 
juries  of  all  our  American  exhibitions  as  regularly  as  they  have  been  sent. 
But  when  M.  Leonre  Benedite,  director  of  the  Luxembourg  Museum,  was 
in  this  countiy  in  1907  he  bore  back  to  Paris  in  glad  triumph  for  the  Luxem- 
bourg one  of  Dabo's  pictures  that  had  been  unifonnly  rejected  b}'  all  our 
exhibitions. 


62 

Artists  like  Edmond  Aman-Jean  and  Auguste  Rodin,  critics  like  Paul 
Vallorbe  and  Camille  Mauclair,  poets  like  Maurice  Maeterlinck  and  Anatole 
de  Braz,  and  such  responsible  authorities  as  M.  Leonre  Benedite  of  the  Luxom- 
bourg  and  Alexander  D.  Goltz,  president  of  the  Modern  Society  of  Painters, 
Vienna,  have  joined  in  appreciative  praise  of  this  painter.   (Craftsman  13 :261.) 

Most  of  Dabo's  work  has  been  done  around  New  York  bay  and  along  the 
banks  of  the  Hudson  river. 

"Each  picture  is  made  up  of  a  succession  of  harmonious  tones  which 
blend  together  in  pleasing  symphonic  effects."     (Brush  &  P.  17:3.) 

Dabo  is  a  spiritual  impressionist.  He  paints  the  landscape  as  one  for 
whom  it  has  been  transfigured  by  some  vision. 

A  few  of  his  works  are: 

"The  Hudson,  Fort  Lee"  "The  Hudson  near  Kingston" 

"  The  Hudson  river  "  "  The  cloud  " 

"The  Hudson  in  winter "  "The  sea " 

"The  Weehawken  basin"  "Early  morning,  Hudson  river" 

"  Evening  on  the  Hudson  "  "  Golden  days  " 

"  His  work  represents  a  singleness  of  idea  and  manner  to  a  degree  unusual 
in  modem  art." 

Dabo,  Theodore  Scott,  (P.)  b.  Detroit,  Mich.,  1870,  of  French  parents. 
Was  educated  at  Saint  Ann's  school,  Detroit.  When  his  father,  Ignace 
Scott  Dabo  (himself  an  artist)  died  in  1885,  the  family  moved  to  New  York 
City.  Leon,  the  oldest  son,  went  to  work  for  a  decorator,  that  this  gifted 
brother,  T.  Scott,  might  study  without  turning  his  talent  to  commercial 
profit.  For  sixteen  years  the  paintings  of  the  brothers  Dabo  were  refused 
admission  to  the  art  exhibitions  in  this  country.  Edmond  Aman-Jean,  the 
French  painter,  was  the  first  to  recognize  the  artistic  value  of  their  work 
and  took  T.  Scott  to  Paris  where  his  canvases  were  accepted  by  the  salon 
and  he  was  greeted  as  an  artist  of  rare  individuality  and  strength. 

Hartmann  says:  "The  highest  quality  in  Dabo's  work  is  the  result  of 
inner,  not  outer  vision." 

M.  Henri  Pene  DuBois  says:  "T.  Scott  Dabo's  works  are  hymns  to 
nature.  They  are  skies  with  vermilion  mists  exhaling  praise  as  from  a 
censer,  marshes  of  melancholy,  rivers  of  peace  and  forgiveness,  fairy  spectacles 
of  land  and  water."  M.  DuBois  also  suggests  Poe  as  a  source  of  inspiration. 
Another  saw  in  his  work  the  influence  of  Mallarme.  Octave  Mirbeau  re- 
cently wrote  that  T.  Scott  Dabo  had  the  charm  of  Puvis  de  Chavannes  and 
the  transparency  of  Carri^e. 

Reproductions  can  give  no  adequate  idea  of  the  depth  of  light  and  charm 
in  color  in  T.  Scott  Dabo's  "  Tour  St.  Jacques  in  the  rain,"  or  his  "  Evening 
on  the  Seine." 

"We  are  the  painters  of  atmospheric  conditions,"  they  say:    "every  thing 


63 

in  nature  moves,  we  therefore  endeavor  to  paint  movement."     They  make 
color  a  vehicle  of  music-like  vibrations.     (Int.  studio  27:174.) 

Daingerfield,  Elliott,  (P.,  I.,  Mural  P.)  b.  Harper's  Ferry,  Va.,  March 
26,  1859.  Studied  drawing  and  painting  in  New  York  with  a  private  teacher, 
also  at  the  Art  Students'  League.  First  exhibited  at  National  Academy  of 
Design  in  1880.  Studied  in  Europe  during  1897.  Is  professor  of  paintrag 
and  composition  at  the  Philadelphia  School  of  Design.  A  member  of  the 
National  Academy,  1906.     A  writer  on  art  subjects. 

Mr.  Daingerfield's  productions  are  largely  figure  and  landscape,  and  his 
studies  are  usuallj'  taken  from  rural  life,  the  toiler  of  the  field  being  his  fav- 
orite subject. 

In  his  paintings,  color  quality  and  depth  of  feeUng  are  the  dominant  features 
and  pervade  the  rough  exteriors  in  which  his  characters  are  dressed.  (Nat. 
C3'c.  Am.  Biog.) 

Among  his  noted  canvases  are: 

"Two  women  shall  be  working         "The  lost  sheep" 

in  the  fields  "  "  The  mother  " 

"My  lady  rhododendron"  "A  madonna  of  the  fields" 

"  Child  of  Mary  "  "  Christ  in  the  wilderness  " 

"A  garden  of  dreams"  "A  wood-cutter" 

"Labor  and  plenty"  "Story  of  the  madonna" 

"  Planting  "  "  The  tanagra  " 

Was  commissioned  to  paint  the  "  Lady  Chapel "  of  the  Church  of  St.  ^lary 
the  Virgin,  New  York,  in  1902. 

"He  is  an  imaginative  painter  with  a  strong  sense  of  decorative  beauty 
and  he  subordinates  realistic  facts  to  the  effect  of  the  ensemble." 

Dallix,  Cyrus  Edwtcx,  (S.)  b.  Springville,  Utah,  November  22,  1861. 
The  first  eighteen  years  of  his  life  were  spent  in  the  mountains  of  Utah. 
When  only  seven  years  of  age  he  attempted  to  model  heads  of  his  favorite 
Indian  chiefs,  and  at  the  age  of  eighteen  when  sifting  ore  in  the  mines  he 
modeled  two  heads  in  clay.  These  were  so  admired  by  the  miners  that 
they  sent  them  to  a  fair  in  Salt  Lake  City.  Two  wealthy  mining  men  in 
Utah  saw  the  heads,  became  interested  in  the  young  genius,  and  made  it 
possible  for  him  to  go  to  Boston  where  he  commenced  study  with  Truman  H. 
Bartlett,  the  sculptor.  Later  he  went  to  Paris  and  studied  under  Chapu 
and  Dampt.  ^A'hile  in  France  he  became  acquainted  with  Rosa  Bonheur 
and  during  the  time  that  Buffalo  Bill  and  his  company  of  Indians  were  in 
Paris  they — Dalhn  and  the  great  French  artist — worked  together,  frequently 
from  the  same  model. 


64 

Mr.  Dalliii  has  made  a  remarkable  series  which  tells  the  story  of  the  Indian's 
relation  to  the  white  man : 

First,  "Signal  of  peace;"  the  welcome. 

Second,  "Medicine  man;"  the  warning. 

Third,  "The  protest;"  defiance. 

Fourth,  "Appeal  to  the  Great  Spirit;"  the  last  hope  of  the  Indian. 

"This  series  is  an  example  of  the  sculptor's  synthetic  insight  and  his  skilful 
interpretation  of  psychological  moments." 

His  bas-relief  of  Julia  Ward  Howe  is  commented  on  as  being  "of  exquisite 
sincerity  of  line,  a  reticent  self-contained  work  and  an  accurate  likeness." 
(New  Eng.  M.  Nov.  1912,  p.  408.) 

A  bronze  statue  of  "Don  Quixote"  was  exhibited  in  the  Paris  salon  and 
critics  refer  to  it  as  "one  of  the  most  delightfully  original  and  imaginative 

of  American  sculptures It  is  conceived  in  an  absolutely  ideal  spirit 

and  is  enveloped  in  an  atmosphere  of  romance  which  is  completely  in  har- 
mony with  that  of  Cervantes." 

He  modeled  the  gilded  bronze  angel  which  surmounts  the  spire  of  the 
Mormon  Temple  in  Salt  Lake  Cit)^;  also  modeled  the  statue  of  Sir  Isaac 
Newton  for  the  rotunda  of  the  Library  of  Congress. 

His  "Despair"  is  an  extremely  graceful  nude.     (New  Eng.  M.  21:196.) 

Dannat,  William  T.,  (P.)  b.  Hempstead,  L.  I.,  July  9,  1853.  Going 
abroad  at  an  early  age,  he  was  ed\icated  in  art  at  the  Royal  Academy  of 
Munich;  studied  also  in  Italy  and  Spain,  after  which  he  settled  in  Paris. 
No  foreign  painter  has  ever  received  greater  praise  from  the  French  people. 

His  first  picture  to  attract  attention  was  his  celebrated  painting  entitled 
"The  quartette,"  exhibited  in  the  salon  of  1884.  This  picture  was  also 
exhibited  at  the  Universal  Exposition  1889  and  was  given  a  place  of  honor 
in  the  American  section.  It  procured  the  artist  the  rank  of  chevalier  in  the 
Legion  of  Honor.  He  was  elected  officer,  1897;  commander,  1900.  Mr. 
Dannat  is  president  of  the  Paris  Society  of  American  Painters  and  has  been 
the  recipient  of  numerous  medals  and  diplomas. 

Popular  paintings : 

"  After  the  mass  "  "  Mariposa  " 

"Otera"  "Une  Saduc6enne";  woman  in 

"Spanish  women"  white. 

"Aragonese  smuggler"  "Un  profil  blond";  study  in  red. 

"A  sacristy  in  Aragon" 

"Degas  is  his  ideal,  and  tlie  .study, of  artificial  Kght  his  field  of  experiment." 
(Miither.) 

"  In  Mr.  Dannat'8  work  we  find  the  qualities  of  the  most  gifted  artists — 


65 

a  vision  of  singular  acuteness  and  sensitiveness,  a  refinement  and  delicate 
intelligence,  perfect  command  of  the  means  of  drawing  and  painting  and 
finally  that  taste  and  that  aesthetic  tact  which  enables  him  to  avoid  every 
excess  whether  of  commonplace  or  of  eccentricity — these  two  extremes  on 
the  verge  of  which  the  masterpiece  is  conceived  and  consummated."  (Child's 
"Art  and  criticism.") 

Albert  Wolff  voiced  the  current  opinion  when  he  declared  Dannat's  "Quar- 
tette "  to  be  the  best  piece  of  painting  in  the  salon  of  1884. 

Davies,  Arthur  B.,  (P.)  b.  Utica,  N.  Y.,  1862.  Received  silver  medal  at 
Pan-American  Exposition,  Buflfalo,  1901.  Is  a  member  of  the  New  York 
Water  Color  Club. 

An  art  critic  recently  writing  on  the  American  art  of  the  MetropoUtan 
Museum  of  Art,  Xew  York,  "refers  to  the  strange  somnambulistic  intensity 
of  his  "Dreams"  "with  an  entire  absence  of  color  audits  great  beauty  of 
tone,  the  sense  of  slow  continuous  movement  secured  not  by  the  drawing 
of  the  figure  itself,  but  by  the  imaginative  composition  of  the  background." 

Davis,  Charles  Harold,  (P.)  b.  Amesbury,  Mass.,  Januarj'  7,  1856.  Very 
early  he  displayed  marked  artistic  ability.  Was  a  pupil  of  Otto  Grund- 
mann  and  the  Museum  of  Fine  Arts,  Boston,  three  years;  also  studied  under 
Lefebvre  and  Boulanger,  Paris.  Remained  in  France  ten  years  and  ex- 
hibited in  the  salons  during  that  time.  Has  resided  at  Mystic,  Conn.,  since 
1890. 

Represented  at  Metropolitan  Museum,  Xew  York,  Corcoran  Galler\'  of 
Art,  Washington,  Pennsylvania  Academy  of  the  Fine  Arts,  Pliiladelphia, 
Art  Institute,  Chicago,  Carnegie  Institute,  Pittsburgh.  Has  been  awarded 
prizes  and  medals  at  manj'  competitive  exhibitions.  Received  honorable 
mention  in  the  Paris  salon  and  in  1889  a  second-class  medal  at  the  Universal 
Exposition,  thereby  his  works  becoming  hors  de  concours.  A  member  of 
the  National  Academy  since  1906. 

One  of  the  strongest  American  landscape  painters.  He  gives  the  actual 
tone  of  the  hour,  whether  it  be  sunrise,  noon  or  sunset,  in  which  his  own 
personalit}'  while  e\'ident  does  not  crowd  out  the  personality  of  nature. 

Among  his  most  famous  productions  are: 

' '  Winter  evening  "  ' '  Rocky  pasture  " 

"  Summer  "  "  Oak  boughs  " 

"  The  brook  "  "  The  hillside  " 

' '  Twilight  hour  "  ' '  Summer  breeze  " 

"The  time  of  the  red-wing  black-  "Autumn  clouds" 
bird" 

Speaking  of  his  works  at  a  recent  exhibition,  a  well-kno\\-n  critic  said: 
"Everyivhere  is  dash,  freedom,  personalitj-,  nature,  charm." 
9 


GG 

In  his  pictures,  Mr.  Davis  intends  to  record  artistic  sensations.  Each 
one  has  a  particular  motif  which  has  been  rendered  in  a  fresh  spontaneous 
and  thoroughly  pictorial  fashion. 

"The  science  of  his  art  is  secondar}'  to  what  he  is  trying  to  say,  and  in  its 
entirety  of  science  and  art,  of  technique  and  sentiment,  these  pictures  by 
Mr.  Davis  rank  him  among  the  great  landscapists  of  the  day."  (Brush  & 
P.  4:122.) 

Deakin,  Edwi-v,  (P.)  b.  Sheffield,  England,  1840.  Received  early  educa- 
tion in  his  native  town.  From  the  outset  of  his  career  he  had  a  fondness  for 
landscape  and  architecture.  After  following  his  art  in  England  and  France 
he  came  to  America  and  settled  in  Berkeley,  California,  and  selected  the 
Spanish  missions  of  California  as  a  specialty. 

Mr.  Deakin  began  his  work  in  1870  and  the  series,  comprising  twenty-one 
missions,  was  completed  in  1899.  The  series  of  structures  painted  by  Mr. 
Deakin  was  begun  under  Father  Junipero  Serra,  the  leader  of  the  Franciscans, 
who  came  to  California  in  1769.     (Brush  &  P.  15:1.) 

Dearth,  Henry  Golden,  (P.)  b.  Bristol,  R.  I.,  April  22,  1863.  Pupil  of 
Ecole  des  Beaux  Arts;  also  studied  with  Morot  and  Merson.  Won  Webb 
prize  Society  American  Artists  1893;  bronze  medal,  Paris  Exposition,  1900; 
silver  medal  Pan-Ameiican  Exposition,  Buffalo,  1901.  Elected  associate 
member  National  Academy  in  1902;  academician  in  1906. 

Mr.  Dearth's  specialtj'  is  landscapes  on  the  Coast  of  Normandy.  He 
has  a  home  and  a  studio  at  Montreuil-sur-Mer  in  Pas-de-Calais,  along  the 
English  Channel  where  he  works  several  months  each  year.  The  keynote 
of  his  work  is  simplicity.  He  suggests  details.  This  is  most  apparent  in 
his  "Sunset  in  Normandy."  His  pictures  have  dignity  and  poetry.  (Cen- 
tury 48:157.) 

De  Camp,  Joseph  Rodefer,  (P.)  b.  Cincinnati,  O.,  November  5,  1858. 
Studied  art  with  Frank  Duveneck,  at  the  Cincinnati  Academy  and  at  the 
Royal  Academy,  ^lunich.  Later  accompanied  Duveneck  and  Whistler 
to  Florence  and  Venice.  Won  first  prize  city  hall  decorative  competition 
Philadelphia;  Temple  gold  medal,  Pennsylvania  Academy  of  the  Fine  Arts, 
1889;  received  honorable  mention  at  Paris  Exposition  1900;  gold  medal  at 
St.  Louis  Exposition  1904.  Member  of  the  society  of  Ten  American  Painters. 
Has  been  instructor  in  the  Pennsylvania  Academy  of  the  Fine  Arts  and  a 
member  of  the  facility  in  the  schools  of  the  Boston  ^luseum  of  Fine  Arts. 

Mr.  DeC'amp  is  known  chiefly  from  his  portrait  and  figure  painting,  al- 
though his  landscapes  are  among  the  finest  painted  by  American  artists. 

For  years  he  has  had  steady  patronage  from  soldiers,  statesmen,  musicians, 
artists,  writers  and  educators.  His  portrait  of  Col.  Roosevelt  which  he  was 
commissioned  by  a  committee  of  the  members  of  the  class  of  1880  at  Harvard 


67 

to  paint  and  which  hangs  in  Memorial  Hall  at  Cambridge,  is  considered  a 
wonderful  achievement.  Mr.  DeCamp's  work  is  not  frequenth'  seen  in  New 
York  except  at  exhibitions  of  the  Ten  American  Painters. 

Arthur  Hoeber,  the  art  critic,  says:  "None  of  the  modem  painters, 
either  in  this  country  or  in  Europe  is  better  equipped  technically  than  is 

Joseph  DeCamp    He  draws  with  academic   correctness,   has  a 

thorough  knowledge  of  anatomj^  and  construction  and  for  faciUty  of  brush 
work  yields  to  no  one." 

JuUa  de  Wolf  Addison  says  that  one  of  the  best  pictures  ever  painted 
by  Joseph  DeCamp  is  owned  by  the  Boston  Museum  of  Fine  Arts — "Guitar 
player." 

Popular  figure  paintings  are: 

"The  blue  cup "  "The  window " 

' '  The  pink  feather  "  "  The  violmist " 

"The  gray  turban" 

DeHaven-,  Frank,  (P.)  b.  Bluffton,  Ind.,  December  26, 1856.  With  money 
he  earned  at  the  age  of  sixteen  he  bought  his  first  box  of  paints.  In  1886 
he  went  to  New  York  and  became  a  pupil  of  George  H.  Smillie.  He  won 
the  Inness  prize  in  1900;  Shaw  prize,  1901,  and  received  honorable  mention 
at  the  Pan  American  Exposition,  Buffalo,  1901.  Elected  associate  member 
of  National  Academy  in  1902. 

His  "^loonrise  and  sunset"  he  regards  as  his  most  important  work.  It 
has  warm  color  and  a  hazy  glow — ^the  russet  of  autumn,  Ughted  by  the  sinking 
sun.  "Autumn  twihght"  with  its  deep  clear  blue  sk>-,  in  which  the  evening 
star  twinkles  near  the  horizon,  is  full  of  mysterj-.  "A  Elaine  farm"  is  a 
study  of  early  autumn  with  the  neutral  atmospheric  grays  of  the  waning 
year.     His  "Winter  night"  and  "Indian  summer"  are  in  direct  antithesis. 

His  versatiUt}'  is  simply  another  expression  for  his  breadth  of  interest, 
and  his  various  tonal  schemes  for  his  master}'  of  color. 

"  His  subjects  are  simple  and  poetical,  the  last  glow  of  the  sun,  a  windy 
day,  a  threatening  sky,  or  struggling  clouds  throwing  a  stream  of  light  on 
the  plain,  fuiTiish  the  principal  themes  of  his  pictures." — Hartmann. 

"His  chief  interest  is  to  manipulate  his  color  so  as  to  make  his  canvas 

the  means  of  imparting  an  emotion   His  scenes  are  bona  fide 

scenes,  simple  bits  in  which  he  has  seen  beauty;  and  the  emotion  he  seeks 
to  arouse  is  the  genuine  emotion  that  he  himself  has  experienced  and  that 
he  strives  to  make  others  feel."     (Brush  &  P.  17:179.) 

De  Kat,  Helena  (Mrs.  R.  W.  GUder),  (P.).  It  was  in  Miss  De  Kay's 
studio  that  on  June  1,  1877,  she  with  Augustus  Saint-Gaudens,  Wyatt  Eaton 
and  Walter  Shirlaw  met  and  organized  the  Societj^  of  American  Artists. 

Mrs.  Gilder  has  retired  from  the  profession  but  Isham  in  writing  of  her 


68 

pictures  says:     "She  showed  a  charming  feeling  for  subtle  color  in  her  ideal 
heads  and  especially  in  her  flower  studies." 

Demin«,  Edward  Willard,  (P.,  I.,  Mural  P.)  b.  Ashland,  Ohio,  August 
26,  1860.  Studied  in  the  Art  Students'  League  and  under  Boulanger  and 
Lefebvre,  Paris. 

Mr.  Deming's  work  divides  itself  into  painting,  mural  decoration  prin- 
cipally, and  modeling. 

It  is  in  his  pictures  illustrating  Indian  folk-lore  that  Mr.  Deming  takes 
the  greatest  interest.     "The  Hiawatha  legends  are  the  subject  of  his  most 

charming  canvases he  delights  in  scenes  in  which  there  is  the  mystery 

of  twilight."      (Craftsman  10:150.) 

"Perhaps  no  one  has  more  exquisitely  revealed  the  first  blush  of  dawn, 
the  majesty  of  moonlight,  the  changing  gray  of  twilight,  the  tragic  depths 
of  loneliness  in  the  first  daybreak  in  woods  and  prairies."  .  (Craftsman 
21:456.) 

The  buffalo  frieze  in  the  residence  of  Mr.  Ernest  Thompson  Seton,  by  Mr. 
Deming,  is  a  transcript  of  the  open  plain  "under  the  unappeasable  sun  of 
the  southwest."     (Int.  studio  27:xv.) 

Mr.  Deming  has  illustrated  many  stories  and  books  dealing  with  Indian 
Hfe. 

Dessar,  Louis  Paul,  (P.)  b.  Indianapolis,  Ind.,  1867.  Studied  at  the  Na- 
tional Academy  in  1886;  later  went  to  Paris  and  studied  under  Bouguereau 
and  Robert-Fleuiy  and  at  the  Ecole  des  Beaux  Arts. 

Awarded  third-class  medal  salon  1891 ;  received  honorable  mention  Carne- 
gie Institute,  Pittsburgh,  1897;  second  Hallgarten  prize  National  Academy, 
1900;  bronze  medal,  Paris  Exposition,  1900;  an  associate  member  National 
Academy,  1900;  full  member,  1906. 

An  artist  with  a  most  delicate  color  sense.  Paints  the  decorative  landscape 
rather  low  in  key,  rich  in  color,  and  paint  laid  on  solidly. 

It  is  by  his  sheep  pictures  that  he  is  best  known  in  this  country.  "Even- 
ing" was  one  of  the  prize  pictures  at  the  Columbian  Exposition,  Chicago, 
1893. 

Among  his  well-known  works  are: 

"  Going  home  "  "  Nocturne  " 

"  Return  of  the  flock  "  "  Moonrise  " 

"  The  fold  in  the  woods  "  "  Clearing  after  the  rain  " 

"Ploughing" 

His  wife  is  the  original  of  the  charming  subject  "  Elizabeth." 
"He  does  not  seem  to  care  so  much  for  composition  or  for  assimilating 
the  ingredients  of  the  scene  and  representing  them  in  synthetic  form,  as  for 
surface  play  of  color  in  certain  portions  of  the  picture.     (The  artist,  24:lix.) 


69 

"He  is  fond  of  the  atmospheric  eflFects  of  sunset  and  moonrise,  and  often 
finds  an  aid  to  his  composition  in  his  interest  in  animal  life."  (Int.  studio 
27:lxvi.) 

Dewey,  Charles  Melville,  (P.)  b.  LowviUe,  New  York,  July  16,  1851. 
As  a  child  he  displayed  artistic  talents,  earning  the  money  for  his  first  painting 
materials  by  building  the  fire  in  the  country  schoolhouse.  In  1874  he  went 
to  New  York  and  became  a  pupil  in  the  National  Academy;  two  years  later 
he  went  to  Paris  and  entered  the  atelier  of  Carolus-Duran  and  was  honored 
in  being  selected  as  one  of  three  pupils  to  assist  his  master  in  the  decoration 
of  the  "Plafond"  of  the  Louvre.  He  returned  to  the  United  States  and 
opened  a  studio  in  New  York  in  1878. 

He  early  became  kno\ni  as  a  truthful  delineator  of  familiar  phases  of 
American  landscape. 

"His  landscapes  are  sj-nthetic  in  treatment,  for  he  seeks  to  interpret, 
rather  than  to  transcribe  an  eflFect."     (Nat.  Cyc.  Am.  Biog.) 

Characteristic  paintings  are: 

"  Edge  of  the  forest "  "  Gray  robe  of  twilight " 

"The  close  of  day  "  " River  at  night " 

"The  queen  of  night"  "Return  of  the  hay  boats" 

"  An  autimm  pastoral "  "  The  harvest  moon  " 
"The  star  and  the  shadows" 

His  pictures  have  a  liking  for  the  subdued  light  of  morning  and  evening, 
the  trees  massed  dark  against  the  sky,  the  depth  and  mistiness  of  the  twilight 
foliage  and  the  glow  of  the  twilight  sky. 

Dewixg,  ^Iaria  Oakley,  (Mrs.  T.  W.  Dewing)  (P.,  I.)  b.  New  York, 
October  27,  1857.  Pupil  of  National  Academy  of  Design  and  John  LaFarge 
in  New  York;  Ck)urtois  in  Paris.  Received  bronze  medal  at  Pan-American 
Exposition,  Buffalo,  1901. 

Specialty:    Figure  and  flower  pieces  and  portraits. 

Dewixg,  Thomas  Wilmer,  (P.,  Mural  P.)  b.  Boston,  Mass.,  May  4,  1851. 
Pupil  of  Boulanger  and  Lefebvre  in  Paris.  Won  the  Clarke  prize.  National 
Academy  of  Design,  1887;  silver  medal,  Paris  Exposition,  1889;  Lippincott 
prize,  Pennsylvania  Academy  of  the  Fine  Arts,  1906;  first  medal,  Carnegie 
Institute,  1908.  Member  of  Ten  American  Painters.  Mected  a  member 
of  the  National  Academy  of  Design  in  1888. 

"The  exquisite  poem  'In  the  garden'  is  one  of  the  few  perfect  master- 
pieces which  American  figure  painting  has  produced.  'The  south  wind' 
is  a  very  beautiful  allegorical  conception." 


70 

Characteristic  paintings  are: 

'  *  Sorcerers  "  "  Before  sunrise  " 

"  The  blue  dress  "  "  The  carnation  " 

' '  After  sunset "  "  The  garland  " 

"Yellow  tulips"  "The  mirror" 

" Girl  with  lute "  "Early      portrait      of      the      artist's 

"A  lady  playing  the  violincello"  daughter" 

"The  spinet" 

"The  quality  in  Dewing's  work  which  appeals  to  me  [Hartmann]  beyond 
every  other,  is  its  personal  character;  it  reflects  the  man's  mind,  that  of  a 
refined  epicureanism,  choosing  naturally  to  live  among  dainty  surroundings 
and  beautiful  women." 

Caffin  says:  "The  technical  summary  of  Thomas  W.  Dewing's  work  is 
impressionism,  based  upon  skilful  draftsmanship  and  the  facile  interpreta- 
tion of  a  color  sense,  not  catholic,  but  deeply  felt." 

Dewing  paints  amber-toned  interiors. 

DiELMAN,  Frederick,  (Mural  P.,  I.)  b.  Hanover,  Germany,  December  25, 
1847.  Came  to  the  United  States  in  childhood.  Graduated  at  Calvert 
College.  His  first  artistic  work  that  appeared  was  entitled  "A  scene  from 
a  confederate  raid  in  Maryland,"  and  this  was  published  when  he  was  sixteen 
years  of  age.  He  studied  art  under  Diez  at  the  Royal  Academy,  Munich, 
returned  to  New  York  in  1876  and  opened  a  studio  there. 

Mr.  Dielman  was  one  of  the  founders  of  the  Society  of  American  Artists, 
and  was  elected  a  member  of  the  National  Academy  of  Design  in  1883 ;  also 
was  one  of  the  founders  of  the  New  York  Etching  Club. 

Was  president  of  the  National  Academy  of  Design  1889-1909;  professor 
of  descriptive  geometry-  and  drawing  in  College  of  New  York  since  1903. 

He  has  contributed  largely  to  the  illustration  of  current  fiction  in  leading 
magazines,  and  in  editions  de  luxe  of  the  works  of  Longfellow,  Tennyson, 
Eliot,  Hawthorne  and  others. 

Mr.  Dielman  is  a  well-known  designer  of  mosaic  and  mural  work;  his  panels 
"Law"  and  "History"  in  the  Library  of  Congress,  the  large  mosaic  "Thrift" 
in  the  Albany  Savings  Bank  and  six  mosaics  in  the  state  capitol  at  DesINIoines, 
la.,  rank  with  the  best  in  this  line  of  art  in  America. 

Mr.  Dielman  also  paints  in  oil,  the  subjects  chosen  being  usually  genre  or 
historical.     A  few  are: 

"The  marriage  of  Francis  Le        •    " Old  time  favorites " 

Baron"  "A  girl  I  know" 

"The  Mora  player" 

His  "Pomona,"  "Gabrielle"  and  "Christine"  are  dainty  bits  of  execution. 


71 

DiLLAYE,  Blanche,  (P..  I.,  E.)  b.  Syracuse,  X.  Y.  Educated  at  Miss 
Bonney's  and  Dillaye's  school  (now  Ogontz).  Studied  art  in  the  Pennsylvania 
Academy  of  the  Fine  Arts  and  in  Paris;  a  pupil  of  Stephen  Parrish  in  etching. 
Has  exhibited  both  in  Paris  salons,  and  in  England,  as  well  as  at  all  the  prin- 
cipal exhibitions  in  the  United  States.  Received  silver  medal  for  etching, 
at  Atlanta  Exposition,  and  at  Universal  Exposition  at  Lorient,  France,  1903. 

Represented  in  art  collection  of  Syracuse,  N.  Y.  Vice-president  of  Phil- 
adelphia Water-color  Club;  first  president  of  Plastic  Club;  member  of  Women's 
Art  Club,  New  York;  also  of  Women's  Art  Association  in  Paris. 

^liss  Dillaye  has  a  penchant  for  odd  nooks  and  narrow^  alleys — a  "Quebec 
sail  loft,"  being  very  characteristic. 

Dix,  EuLABEE,  (Min.  P.)  b.  Illinois,  October  5,  1879.  Pupil  of  St.  Louis 
School  of  Fine  Arts,  William  J.  Whittemore  and  I.  A.  Josephi  in  New  York. 

"Jewel-like  color  resembling  the  earliest  stained  glass  is  the  effect  ^liss 
Dix  has  most  zealously  striven  for.  In  the  miniature  of  Mrs.  Michael  Dreicer 
the  sitter  is  clothed  in  emerald  green,  a  color  which  contrasts  most  effectively 
with  her  reddish  brown  hair.  The  miniature  of  Mark  Twain  in  a  gown  of 
an  Oxford  doctor  of  letters  shows  a  prevailing  tone  of  gray,  the  broad  red 
band  of  the  gown  lighting  the  whole  picture.     The  miniature  of  Mrs.  Purdon- 

Clarke  is  exceedingly  beautiful Miss  Dix's  sense  of  color  values  is 

peculiarly  happy." 

"^liss  Dix  thoroughly  understands  the  art  of  miniature  painting  as  dis- 
tinct from  portrait  painting  '*in  the  large."     (Int.    studio  40:sup.  xciv.) 

"Eulabee  Dix  paints  in  the  careful  style  of  the  old  miniatures." 

Dodge,  William  de  Leftwich,  (Mural  P.)  b.  Liberty,  Va.,  ^larch  9,  1867. 
Studied  in  !Munich  and  with  Gerome  in  Paris.  Received  two  third  medals 
and  prix  d' atelier  while  studj'ing  with  Gerome;  two  medals  Cours  Yvon, 
medal  at  Paris  salon,  1888.  gold  medal  Prize  fund  exhibition,  New  York. 
1886 ;  bronze  medal  Paris  Exposition  1889 ;  also  medal  at  Columbian  Ex- 
position, 1893.  Member  Society  of  Plural  Painters.  Has  executed  mural 
paintings  in  the  Libraiy  of  Congress  and  in  many  New  York  City  hotelsv 

DoDsox,  Sarah  Paxtox  Ball,  (P.)  b.  Philadelphia,  Pa.,  1847;  d.  Brighton, 
England,  August  8,  1906.  First  began  art  studies  in  the  Pennsylvania 
Academy  schools  in  1872.  Her  training  was  continued  in  Paris  where  for 
three  years  she  worketl  under  Evariate  "N'ital  Luminals  and  afterward  under 
Jules  Lefebvre,  enjoying  also  the  privilege  at  a  later  period  on  her  career 
of  criticism  from  Boutet  de  Monvel.  Her  first  publicly  exhibited  work  was 
"L'amour  menetrier"  shown  in  the  Paris  salon  of  1877.  Her  decorative 
painting  "Pax  Patriae"  was  an  especial  feature  of  the  Pennsylvania  state 
building  at  the  Columbian  Exposition.  "La  dance"  is  an  exemplification 
of  her  early  style  and  "  Deborah."  recently  acquired  by  the  Corcoran  Gallery 


72 

of  Art,  Washington,  D.  C,  well  represents  the  second  period  of  her  art  de- 
velopment. Her  most  important  historical  work  is  "The  signing  of  the 
Declaration  of  Independence  in  the  state  hoiise,  Philadelphia,  Fourth  of 
July,  1776,"  and  "The  invocation  of  Moses"  in  Saint  Bartholomew  church, 
Brighton,  England,  is  her  most  important  decorative  work.  In  her  land- 
scapes "there  is  a  marked  delicacy  of  feeling." 

"  Her  limitations  were  the  limitations  of  her  temperament.  In  her  painting 
there  can  be  heard  no  strident  call  for  recognition,  but  always  the  soft  voice 

of  beauty  makes  lasting  appeal Through  each  succeeding  step  of 

her  artistic  growth  there  is  a  sympathetic  intimacy  with  the  more  subtle 
truths  of  nature."     (Int.  studio  45:sup.  xxxvii.) 

DoNOGHUE,  John,  (S.)  b.  Chicago,  111.,  1853;  d.  New  Haven,  Conn.,  July 
3,  1903.  Of  very  humble  parentage.  Had  a  short  period  of  art  study  at  the 
Academy  of  Design,  Chicago;  later  studied  with  Jouffroy  in  the  Ecole  des 
Beaux  Arts,  Paris.  Exhibited  a  head  "Phaedra"  in  the  salon  of  1880.  Re- 
turned to  Chicago  the  same  year.  When  Oscar  Wilde  visited  this  country 
in  1882  he  called  attention  to  Donoghue's  artistic  promise  and  through  his 
efforts  Donoghue  was  able  to  return  to  Europe  the  following  year.  Received 
honorable  mention  in  the  Paris  salon  of  1886.  In  Rome  he  produced  a  number 
of  remarkable  works.  "Young  Sophocles"  undoubtedly  his  highest  in- 
spiration, stands  among  the  most  perfect  examples  of  ideal  sculpture  yet 
produced  by  an  American. 

It  was  Donoghue's  dream  to  be  represented  in  his  native  city  by  a  great 
work  of  art.  He  conceived  the  idea  for  an  immense  statue  to  be  known  as 
"The  spirit."  (Milton  is  said  to  have  been  the  inspiration.)  This  colossal 
statue  was  intended  for  the  Columbian  Exposition,  1893.  Arriving  too  late, 
no  arrangements  were  made  to  receive  it  in  New  York  and  it  was  left  on  the 
dock.  The  artist  could  not  pay  the  transportation  bill.  This  and  the  failure 
to  show  his  work  in  public  caused  him  grevious  disappointment.  He  lost 
enthusiasm  and  ambition  and  but  little  was  known  of  him  until  his  dead  body 
was  found  on  the  shores  of  Lake  Whitney,  near  New  Haven,  Conn.,  he  having 
committed  suicide.     (Taft's  "History  of  American  sculpture.") 

DoNOHO,  G.MNES  RuGER,  (S.,  P.)  b.  Church  Hill,  Miss.,  1857.  Pupil  of  Art 
Students'  League  of  New  York  and  R.  Swain  Gifford,  Lefebvre  and  Boulanger. 

Received  silver  medal  at  Paris  Exposition  1889. 

Ken  yon  Cox  says:  "Mr.  Donoho  is  a  painter  who  has  produced  too  little 
and  exhibited  too  little  of  what  he  has  produced,  but  this  picture  ["La  Mar- 
cellerie  '*]  decoratively  designed  and  closely  studied  shows  us  a  talent  at  once 
robust  and  fine." 

Another  critic  refers  to  the  same  picture  as  fully  up  to  the  best  salon 
standards  and  especially  as  "being  beautifully  painted." 


73 

Dougherty.  Paul,  (P.)  b.  Brooklyn,  X.  Y.,  September  6,  1877.  Gradu- 
ated from  the  Xew  York  law  school,  1898.  Soon  after  he  decided  to  abandon 
a  legal  career  and  pursue  art.  He  studied  perspective  and  form  under  Con- 
stantin  Hertzberg  and  then  traveled  and  studied  art  alone  five  years  at  Paris, 
London,  Florence,  Venice  and  Munich.  It  is  by  his  marines  that  he  won 
fame. 

International  studio  36:iii  says  of  him  and  his  art:     "Never  anecdotal 

he  is  always  picturesque He  would  in  rock  representation  show 

compactness  and  texture  so  clearly  that  its  geological  history  may  be  read 
by  a  scientist.  He  would  in  ocean  convey  a  profound  impression  of  its 
depth,  its  latent  cruelty  and  its  almost  resistless  and  rhythmic  power  of 
wave.  "Northern  sky"  suggests  the  tremendous  speed  of  a  high  billow 
hurled  at  a  towering  rock  mass  with  the  fun.'  of  the  whole  ocean  behind  it. 

More  wave  historj^  is  told  in  "The  cleft."     "The  twisted  ledge" 

is  a  study  in  perspective  of  rock  form "The  black  wave"  represents 

the  dynamics  of  ocean  currents The  nearest  approach  to  impres- 
sionism is  "Sun  and  storm" Mr.  Dougherty  should  not  be  judged 

entirely  as  a  painter  of  maiine;  cloud,  mountain  and  plain  as  well  as  rock, 
sea  and  sky  have  been  depicted  by  him.'; 

"Better  than  others  has  he  intei-preted  atmospheric  efifeets  on  lumiaous 
spray — the  evanescent  charm  of  the  ever-changing  sea."     (Art  &  P.  2:7.) 

His  "Land  and  sea"  is  in  the  Corcoran  Gallery  of  Art  and  his  "Sun  and 
mist "  is  in  the  National  Galler}-. 

A  member  of  leading  art  clubs;  elected  associate  of  the  National  Academy 
of  Design,  1906;  academician,  1907. 

DuFNER,  Edward,  (P.)  b.  Buffalo,  New  York.  Studied  art  in  Madrid, 
Spain,  and  was  a  pupil  of  Whistler  and  Laurens  in  Paris.  Received  honor- 
able mention  in  the  Paris  salon  of  1902.  Is  a  member  of  the  Paris  American 
Artists  Association,  New  Y'ork  Water  Color  Club,  and  many  other  leading 
art  clubs.  Elected  associate  member  of  the  National  Academy  in  1910. 
Instructor  in  the  Art  Students'  League  of  New  York. 

Most  important  work  is  "Portrait  of  a  young  lady  in  pink." 

DuNLAP,  Mary  Stewart,  (P.)  b.  in  Ohio.  Now  resides  in  Pasadena, 
California.  Her  first  art  studies  were  in  New  York  after  which  she  spent 
four  years  in  Paris  at  the  academies  Delecluse  and  Whistler.  She  sketched 
and  painted  in  oil  and  watercolor  through  Brittam'  and  Normandy.  Her 
work  in  Paris  was  followed  by  artistic  pilgrimages  to  Rome  and  Florence. 
Returning  to  the  United  States  she  decided  to  make  Southern  California 
her  home. 

"Her  delineation  is  elusive  to  the  point  of  impressionism;  it  is  rather  the 

spirit  of  a  certain  hour  of  a  certain  day  that  she  wishes  to  record 

Nature  in  Miss  Dunlap's  paintings  does  not  necessarily  mean  a  hteral  rep- 


74 

resentation  of  natural  objects Her  work  suggests  rather  that  the 

color  and  the  atmospheric  transitions  of  nature  are  a  worthier  subject.  In 
Pasadena  she  found  a  field  for  a  wider  diversity  of  material  she  is  most  de- 
sirous of  interpreting  —  the  portrayal  of  transient  color  effect.  (Int. 
studio  45:xxiii.) 

^  DuvENECK,  Frank,  (P.,  S.,  E.,  Mural  P.)  b.  Covington,  Ky.,  1848.  When 
eighteen  years  of  age  he  was  employed  by  a  church  decorator  in  Cincinnati 
and  soon  became  an  exceedingly  valuable  assistant.  In  1870  he  went  to 
Munich  and  entered  the  Royal  Academy.  After  three  months'  work  in  the 
antique  class  under  Strahuber,  he  was  admitted  to  the  painting  class  of  Prof. 
von  Dietz.  His  progress  was  looked  upon  as  phenomenal;  he  took  all  prizes 
of  the  academy  from  antique  drawing  to  composition.  In  1878  he  opened 
a  school  of  painting  in  ^lunich  which  became  so  popular  that  when  he  de- 
cided to  go  to  Florence,  nearly  half  of  his  pupils  insisted  on  going  with  him; 
so  he  continued  his  classes  in  Florence  and  Venice  for  two  years. 

He  has  received  a  number  of  medals  and  honors  of  many  kinds.  He 
-was  elected  member  of  the  National  Academy  of  Design,  New  York,  in  1906. 
Since  returning  to  Cincinnati,  he  has  devoted  much  time  to  teaching  a  paint- 
ing class  in  the  Art  Museum  of  that  city. 

Tj^pical  works  are: 

"  Turkish  page  "  "  The  woman  with  forgetmenots  " 

"  Whistling  boy  "  "  Venetian  shrine  " 

"  Man  with  ruff  "  ''  Interior  of  St.  :Marks,  Venice  " 
"Prof.  Loeflftz" 

In  addition  to  painting  and  etching,  he  has  done  some  remarkable  work 
in  sculpture,  receiving  an  award  in  the  salon  for  a  monument  he  made  to  his 
wife.  His  mural  decoration  in  the  new  Catholic  cathedral  Covington,  Ky., 
is  spoken  of  as  being  a  serious  and  dignified  piece  of  work. 

"Duveneck's  works  with  the  paint  brush  are,  with  few  exceptions,  distinctly 
paintings  in  the  complete  and  full  sense  of  the  word,  because  they  are  em- 
phatically made  with  paint  and  the  paint  brush  and  not  drawn  and  colored. 
It  is  the  expressive  use  of  the  paint  brush  itself  that  is  a  large  factor  in  the 
artistic  value  of  his  work."     (Arts  and  D,  July,  1911.) 


y 


E.\KiN8,  Thomas,  (P.)  b.  Philadelphia,  Pa.,  July  25,  1844.  Studied  art  in 
Philadelphia,  at  the  Ecole  des  Beaux  Arts,  the  Atelier  Bonnat,  and  under 
G^ronie  and  Dumont  in  Paris. 

Has  received  many  medals  and  prizes.  Was  elected  a  member  of  the 
National  Academy  of  Design,  New  York,  in  1902.  Instructor  in  the  Pennsyl- 
vania Academy  of  the  Fine  Arts. 

Since  his  return  to  the  United  States  he  has  taught  in  life  classes,  lee- 


75 

iNrvEBSlTY 
tured  as  demonstrator  of  anatomy  and  becom^j)r6le8soB*of  jjiaipllng  and 
director  of  the  Pennsylvania  academy. 

His  pictures  are  ven*  varied  in  their  subjects.  He  has  painted  many 
small  pictures  of  domestic  scenes  in  the  early  days  of  America,  of  American 
sporting  and  athletic  games,  studies  of  the  American  negro  character  and 
also  portraits. 

" Eakins  with  a  like  grasp  of  the  personality  of  his  subjects 

and  an  even  greater  enjojTnent  of  the  picturesqueness  of  their  attitudes  and 
apparel,  yet  fails  of  the  popular  appreciation  that  he  merits  because  of  his 
neglect  of  the  beauties  and  graces  of  painting — ^not  the  beauties  and  graces 
of  his  subjects."     (Isham.) 

"Cello  player''  and  "Salutat"  are  finished  paintings  and  better  indicate 
his  power  as  an  artist  than  the  "Dancing  lesson"  and  portraits  earher  ex- 
hibited."    (Brush  &  P.  6:130.) 

K^TOX,  Charles  Harry,  (P..  I.)  b.  near  Akron.  0-,  December  13,  1850.  d. 
Leonia,  X.  J.,  August  4,  1901.  As  a  painter  and  illustrator,  was  self-taught. 
First  exhibited  at  the  National  Academy  of  Design,  New  York,  1881.  Re- 
ceived silver  medal,  Boston.  Associate  member  of  the  National  Academy, 
1893.  Won  the  Evans  prize  in  1898  with  his  painting  "The  brook,"  and 
received  the  gold  medal  of  the  Art  Club  of  Philadelphia  for  his  "Willows," 
in  1900.     "  Lily  pond  '  is  another  popular  picture  of  his. 

K\Tox,  Wyatt,  (P.)  b.  PhiUpsburg.  Province  of  Quebec,  Canada,  May  6, 
1849.  Studied  art  in  New  York  at  the  National  Academy  of  Design  before 
going  abroad  in  1872.  He  spent  a  few  weeks  in  London  where  he  met  Whist- 
ler, then  went  to  Paris  where  he  worked  under  Gerome:  made  the  acquaint- 
ance of  Millet,  also  Munkaczy.  For  four  years  his  time  was  divided  between 
Paris  and  Barbizon,  in  the  forest  of  Fontainebleau. 

In  his  "Hay  makers"  we  trace  the  influence  of  Millet  and  Bastien-Lepage. 

While  in  France  he  painted  figure  subjects,  landscapes  and  portraits, 
exhibiting  in  the  salon  of  1874  his  "Reverie''  and  two  years  later  his  "Har- 
vesters at  rest."  In  1876  he  returned  to  America  and  became  a  teacher  in 
the  life  and  antique  classes  in  drawing  at  Cooper  Institute  and  was  active 
in  the  formation  of  the  Society  of  American  Artists. 

Upon  his  return  to  America  his  first  important  works  were  portraits  from 
life  of  Brjant,  Longfellow,  Emerson,  Whittier  and  Holmes.  His  portrait 
of  Mrs.  R.  W.  Gilder  and  painting  entitled  "Man  and  violin"  have  an  un- 
disputed place  among  the  best  pictures  produced  in  this  countrj\ 

"His  characteristic  note  was  not  strength  but  rather  delicacy  of  feehng: 
feeling  for  tone  and  color  in  his  "Reflection,"'  feeling  for  grace  in  his  little 
classic  figures,  feeling  for  character  in  the  crayon  heads  that  he  did  of  Emerson 
and  Holmes  and  Whittier  and  others."     (Isham.) 


76 

Eberle,  Abastexia  St.  Leger,  (S.)  b.  in  Iowa,  April  16,  1878.  Studied 
sculpture  with  George  Grey  Barnard  and  Gutzon  Borglum. 

Miss  Eberle  was  an  accomplished  musician  which  line  of  artistic  endeavors 
she  abandoned  for  sculpture.  There  is  a  touch  of  mystery  and  grace  promi- 
nent in  her  small  works,  as  in  "The  dancer"  where  the  wind  of  her  move- 
ments draws  her  flying  draperies  against  her  body.  This  work  was  sold 
at  the  International  exhibition  in  Venice,  1909.  In"L'Isolee"  we  have  the 
nude;  in  "Bacchante"  a  classic  theme;  and  in  "Indian  Fighting  Eagle"  we 
see  the  aboriginal  portrayed  in  a  dramatic  manner. 

The  rendering  of  motion  especially  appeals  to  Miss  Eberle.  She  says: 
"If  1  were  a  painter,  I  would  be  an  Impressionist." 

Her  collaborations  with  Miss  Anna  Vaughn  Hyatt  have  received  com- 
mendation and  praise  from  those  qualified  to  pass  upon  their  artistic  merits. 

Giles  Edgerton  says:  "One  of  the  most  impersonal  of  the  women  sculptors 
is  Miss  Abastenia  St.  Leger  Eberle.  Her  work  does  not  suggest  an  effort 
to  overcome  a  feminine  point  of  view  or  to  ape  the  masculine  way  of  achieve- 
ment. She  just  seems  to  present  people,  little  children,  old  beggar  women, 
Indians,  more  absolutely  than  individually." 

"Miss  Eberle  is  interested  in  settlement  work  and  makes  many  journeys 
to  the  East  Side,  and  is  perfectly  acquainted  with  the  youngsters  whose 
natures  she  reveals  to  us  in  bronze.  "Coal  picker"  and  "Rag  gatherer" 
give  the  somber  aspect  of  her  work."     (Arts  and  D.  2:105.) 

Elliott,  Charles  Loring,  (P.)  b.  Scipio,  Cayuga  Co.,  N.  Y.,  December, 
1812;  d.  Albany,  N.  Y.,  September  20,  1868.  Became  a  pupil  of  Trumbull 
and  painted  portraits  while  still  a  young  man;  opened  a  studio  in  New  York 
early  in  his  career.  Was  elected  associate  member  of  the  National  Academy 
of  Design  in  1845,  and  full  member  in  1846.  Is  said  to  have  painted  more 
than  seven  hundred  portraits  of  eminent  people.  At  the  exhibition  of  the 
National  Academy  in  1868-69  many  of  his  paintings  were  shown,  including: 

"Don  Quixote" 

"Falstaff" 

"Andrew  Van  Corlear,  the  trumpeter"  and 

"The  head  of  Skaneateles  Lake,"  the  only  landscape  he  ever  painted. 

Tuckerman  says:  "No  one  can  mistake  the  rich  tints  and  vigorous 
expres-sion,  the  character  and  color  which  distinguish  Elliott's  portraits." 

Elliott  stands  among  the  first  American  portrait  painters,  especially  for 
old  and  character  heads.  His  portrait  of  Fletcher  Harper  is  considered 
by  artists  and  critics  to  be  a  masterpiece,  and  the  committee  who  selected 
American  pictures  to  be  sent  to  the  l^aris  Exposition  unanimously  chose  it 
as  a  typical  and  clever  American  portrait. 

Elliott,  John,  (P.,  I.,  Mural  P.)  b.  England,  April  22,  1858.     A  student 


77 

in  the  Julien  Academy:  also  pupil  of  Carolus  Duran  and  of  Jose  de  Villegas 
at  Rome.  While  in  Rome  he  painted  his  first  important  mural  decoration, 
and  occupj-ing  apartments  with  Mrs.  Elliott's  cousin,  F.  Marion  Crawford 
who  had  collected  many  death  masks,  he  was  fascinated  vath  one  of  Dante. 
Two  pictures  of  Dante  in  exile  were  the  result;  one  of  them  now  hangs  in  the 
living  room  of  Queen  Margherita  of  Italy,  the  other,  in  the  home  of  Mrs.  J. 
Montgomery  Sears  of  Boston. 

A  pastel  study  of  Dante  thrown  into  a  waste  basket  and  rescued  by  Mrs. 
Elliott,  is  now  better  known  than  either  of  his  paintings,  and  in  reproduction 
has  gone  all  over  the  world. 

His  great  mural  painting,  "Diana  of  the  tides"  for  the  National  Museum 
in  Washington,  D.  C,  was  painted  in  Rome.  "The  vintage,"  frieze  and 
ceilings  in  the  home  of  Mrs.  Potter  Palmer,  Chicago,  and  "The  triumph  of 
time,"  ceihng  decoration  for  the  children's  room  in  the  Boston  Public  Library 
are  his  most  notable  mural  decorations  in  America. 

Twenty-four  pastel  drawings  made  to  illustrate  Mrs.  Anderson's  fairy 
tale  "The  great  sea  horse"  were  exhibited  in  America. 

Of  his  portrait  of  Julia  Ward  Howe,  it  is  said:     "The  picture  is  utterly 

simple It  is  tender,  reverential,  a  sweet  and  solenm  glorification 

of  old  age,  and  of  the  old  age  of  a  distinguished  spirit."  He  said  "I  was 
painting  the  author  of  "The  battle  hymn  of  the  repubUc." 

Mr.  Elliott  made  the  well-known  silver-point  portrait  of  "the  late  King 
Humbert  which  Queen  Margherita  carries  with  her  on  all  her  journeys. 
(Everybodj^'s  M.  23:95.) 

Mr.  Elliott  has  been  honored  with  several  decorations.     (Arts  &  D.  2:359.) 

Elwell,  Frank  Edwix,  (S.)  b.  Concord,  Mass.,  June  15,  1858.  Studied 
in  the  United  States  under  Daniel  Chester  French,  and  in  Paris  at  the  Ecole 
des  Beaux  Arts  and  under  Jean  Alexander  Falguiere.  Is  a  member  of  the 
Institute  of  France.  Has  exhibited  in  the  Paris  salon,  Royal  Academy, 
London,  Royal  Exhibition,  Brussels,  Philadelphia  Art  Club  and  Pennsylvania 
Academy  of  the  Fine  Arts,  Philadelphia. 

Enjoys  the  distinction  of  being  the  first  American  sculptor  who  modeled 
in  America  a  statue  to  be  erected  in  Europe. 

Best  known  works  are: 

"Death  of  strength,"  a  monument  at  Edam,  Holland; 
Bust  of  Lord  Provost  of  Aberdeen;  at  Aberdeen,  Scotland; 
Equestrian  statue  of  General  Hancock,  at  Gettysburg; 
Monument  of  Edwin  Booth  at  Blount  Auburn,  Cambridge,  Mass. ; 
Two  foimtains — "C^res"  and  "Kronos" — at  Pan-American  Exposition; 
Statue  of  Dickens  and  Little  Nell,  Fairmount  Park,  Philadelphia; 
Busts  of  Levi  P.  Morton  and  Garret  A.  Hobart  in  the  senate  chamber  at 
Washington,  D.  C. 


78 

Was  associate  editor  of  the  Arena  magazine  and  also  compiler  of  the  first 
history-  of  American  sculpture. 

At  an  exhibition  of  the  Cincinnati  Art  Club,  of  which  Mr.  Elwell  is  an 
honoraiy  member,  was  shown  his  bronze  statue  "The  orchid."  ''A  beautiful 
young  woman  in  a  dancing  attitude  is  gracefully  poised  on  one  foot,  which 
hardly  seems  to  touch  the  earth.  The  upward  action  of  the  arms,  the  spring 
of  the  foot  and  the  suggestive  airiness  of  the  drapery  all  tend  to  convey  the 
idea  that  she  is  of  the  air,  as  is  the  orchid."     (Brush  &  P.  6:76.) 

Emmet,  Lydi.\  Field,  (Min.  P.,  I.)  b.  New  Rochelle,  N.  Y.,  1866.  Pupil 
of  Bouguereau,  Giacomotti,  Robert-Fleury,  Collin  and  Mac]\Ionnies  in  Paris; 
Chase,  Mowbray,  Cox  and  Robert  Reid  in  New  York.  Associate  member 
National  Academy  of  Design,  1909. 

Won  many  prizes  and  medals. 

"Miss  Emmet's  color  is  exquisite  and  her  daring  but  positive  use  of  ver- 
milion is  unusual.  Nearly  every  one  of  her  miniatures  might  be  called  a 
flower  of  portraiture,  for  these  dainty  things  suggest  gardens  of  lilies  and 
lilacs."     (Brush  &  P.  6:26.) 

"She  is  a  painter  of  aristocracy,  of  the  American  aristocracy,  which  is 
distinct  from  any  other.  Her  women  have  intellect,  her  children  health.  . .  . 
....  ^liss  Emmet  has  successfully  conquered  the  matter  of  grouping  before 
which  so  many  other  painters  have  met  with  disaster."     (Guy  du  Bois.) 

"Olivia"  won  honorable  mention  at  the  last  exhibition  of  the  Carnegie 
Institute. 

"  Her  child  portraits  invariably  carry  conviction  and  have  pictorial  charm 

Her  brushwork  is  strong  and  her  treatment  of  svn-faces  and  textures 

adequate." 

Enneking,  John  Joseph,  (P.)  b.  Minster,  O.,  October  4,  1841.  Was  edu" 
cated  at  Saint  Mary's  College,  Cincinnati,  receiving  his  first  lessons  in  drawing 
from  Bishop  Rosecrans,  then  principal  of  the  institute.  Served  in  the  U.  S. 
army  during  the  civil  war.  Took  up  mercantile  pursuits  in  1865.  Went 
to  Europe  in  1872  and  studied  art  with  Schleich  and  Lier,  Munich,  and  special 
figure  painting  with  Bonnat  and  Daubigny,  Paris;  later  took  up  landscape 
under  the  advice  of  the  latter.  Returned  to  Boston,  1874.  Has  won  several 
silver  and  gold  medals  in  America. 

He  excels  in  depicting  New  England  landscapes  and  among  his  best  works 
may  l^e  mentioned: 

"  Summer  twilight "  "  Calf  in  the  lane  " 

"Cloudy  day  in  summer"  "The  clam-digger" 

"  Indian  summer  "  "  The  brook  " 

"  Noveml^er  twilight "  "  Sheep  and  lambs  " 
"  December  thaw  " 


79 

His  earlier  but  much  admired  works  are: 

"Moonlight  on  the  Giudecca,  "Farm  yard  scene  in  France" 

Venice"  "The  Obersee"   (considered  by  some 

"  Freshly  picked  "  to  be  his  best) 

^Ir.  Enneking  is  a  colorist,  but  not  a  riotous  colorist.     He  does  not  startle, 

he  satisfies    He  is  acknowledged  to   have  created,   artistically 

speaking,  the  "November  twilight." 

He  is  one  of  the  most  individual  of  American  painters,  and  withal  one  of 
the  most  developed  and  rounded  of  personalities.     (Brush  &  P.  10:335.) 

Frederick  W.  Cobum  says:  "His  ideal  is  the  picture  that  shall  be  the 
perfect  expression,  not  of  a  locality,  but  of  a  thought." 

EzEKiEL,  ^losES  Jacob,  (S.)  b.  Richmond,  Va.,  Oct.  28,  1844.  Graduated 
at  the  Virginia  !Militar\'  Institute  in  1866;  studied  anatomy  at  the  Medical 
college  of  Virginia.  In  1869  he  went  to  Europe,  entering  the  Royal  Academy 
of  Art  in  Berlin  and  remaining  there  until  1871,  working  later  in  the  studio 
of  Prof.  Albert  Wolf. 

In  1872  he  was  admitted  into  the  Society  of  Artists,  Berlin,  on  the  merits 
of  a  colossal  bust  of  "Washington,"  and  in  1873  with  his  "Israel"  he  gained 
the  ^lichaelbeer  prize,  a  stipendium  for  two  j'ears  study  and  residence  in 
Italy.     He  was  the  first  foreigner  to  win  this  prize. 

The  Emperor  of  Germany  and  the  Grand  Duke  of  Saxe-^Ieiningen  have 
conferred  upon  him  the  cavalier  crosses  for  merit  in  art  and  science;  the 
King  of  Italy  bestowed  on  him  the  cross  of  an  "  Officer  of  the  Crown  of  Italy  " ; 
he  has  won  the  gold  medal  of  the  Royal  Association  in  Palermo,  the  Raphael 
medal  at  Urbino,  and  is  a  member  of  the  Societies  of  Artists  in  Berlin  and 
Rome,  and  of  the  Academy  of  Raphael  in  Urbino. 

Since  1874  he  has  resided  in  Rome,  where  his  studio  itself  is  a  notable 
place. 

Mr.  Ezekiel's  first  important  work,  a  marble  group  representing  "Religious 
Liberty"  is  now  in  Fainnount  Park,  Philadelphia.  His  "Thomas  Jefferson" 
is  in  Louisville,  Ky.,  and  a  series  of  eleven  statues  of  famous  artists,  in  Carrara 
marble,  decorate  the  Corcoran  Galleiy  of  Art,  Washington,  D.  C. 

The  development  of  patriotic  themes  is  a  specialty  of  this  sculptor.  "It 
is  probable  that  in  sounding  this  greatest  and  best  chord  of  human  nature, 
patriotism,  Sir  ^Moses  Ezekiel  touches  and  holds  his  highest  level."  (World's 
Work,  Vol.  19:12255.) 

He  has  made  many  busts  of  beautiful  women  scattered  throughout  Europe 
and  America,  but  none  reallj'  so  perfect  as  that  of  the  Dowager  Queen  of 
Italy.  His  "Napoleon"  is  a  notable  work.  The  late  F.  Marion  Crawford 
called  it  the  history  of  Napoleon,  and  Cesareo,  the  Sicilian  poet  and  art  critic, 
writes  of  it:     "Rarely  or  never  has  the  tragedy  of  Napoleon  been  signified 


80 

with  more  severe  sorrow,  with  such  intense  truth,  wdth  more  heroic  grief, 
than  in  the  sculpture  of  p]zekiel." 

Liszt,  who  had  a  personal  acquaintance  with  all  the  best  artists  of  Rome, 
selected  Ezekiel  to  make  his  portrait-bust  for  the  Academy  of  Music  at  Pesth. 
Cardinal  Hohenlohe,  an  intimate  friend  of  Liszt,  also  an  authority  on  art, 
after  having  viewed  the  work  critically,  turned  to  it  again  on  leaving  the 
room,  and  said,  "Adieu,  Liszt!  I  thus  hand  thee  down  to  posterity." 

An  Italian  publication,  "Publica  Opinione,"  closes  a  critical  review  of 
Mr.  Ezekiel's  works  with  these  words:  "We  conclude  this  brief  notice  by 
expressing  our  admiration  of  the  great  American  sculptor  in  whom  we  feel 
Italian  pride  because  his  genius  was  cultured  beneath  our  sky,  and  was  in- 
spired by  our  great  men  to  become  more  great." 

Farny,  Henry,  (P.)  a  native  of  Alsace,  was  bom  in  Ribeauville  in  1847 
His  family  came  to  this  country  in  1853,  and  later  took  up  their  home  in 
Cincinnati  where  his  father  died  in  1865. 

His  first  efforts  in  art  were  decorations  on  water  coolers.  Afterwards 
became  designer  for  lithographs,  one  of  his  widely  known  productions  of  that 
period  being  a  caricature  of  the  escape  of  Jefferson  Davis. 

In  1867  he  went  to  New  York  and  entered  the  employ  of  Harper  and 
Brothers;  later  worked  his  passage  to  Europe  in  a  sailing  vessel.  In  Rome 
he  met  Regnault,  who  engaged  him  to  make  the  sketches  which  appeared 
in  Francis  Wey's  elaborate  work  on  Rome. 

Being  a  Frenchman  by  birth,  Farny  was  admitted  to  fellowship  of  the 
French  artists  in  Rome.  Went  to  Diisseldorf,  where  he  became  the  pupil 
of  Munkaczy.  Returning  to  America  in  1870,  and  being  unsuccessful .  in 
disposing  of  his  paintings  executed  abroad,  he  was  compelled  to  gain  support 
by  making  designs  for  the  large  showbills  used  by  circus  companies.  Later 
gained  considerable  reputation  as  a  cartoonist. 

In  1878  in  company  with  Duveneck,  Dengler  and  Twachtman  he  again 
went  to  Munich  and  there  gained  honorable  mention  in  the  competition  for 
composition. 

For  many  years  he  has  been  chiefly  engaged  in  Cincinnati  in  designing 
illustrations  for  school  books  and  magazines. 

Farny  has  been  most  successful  in  his  delineation  of  Indian  life  and  char- 
acter; in  this  field  he  has  done  pioneer  work.  A  popular  specimen  is  "Song 
of  the  talking  wire." 

"The  silent  guest"  is  perhaps  the  best  of  his  works  in  oil. 

Farrkr,  Henry,  (E.)  b.  London,  England,  March  23,  1843;  d.  Brooklyn, 
N.  Y.,  February  24,  1903.  He  came  to  America  when  he  was  nineteen  years 
of  age.  His  first  serious  attempts  at  etching  were  made  about  1868.  Neces- 
sity compelled  him  for  a  time  to  abandon  etching  for  more  lucrative  pursuits, 
but  at  the  fonnation  of  the  New  York  Etching  Club  in  1877,  he  again  took  up 
the  work. 


81 

In  1879  he  became  secretan'  of  the  American  Water  Color  Society  and 
in  1881  president  of  the  New  York  Etching  Club.  Was  elected  in  1882  a 
fellow  of  the  Royal  Society  of  Painter-Etchers,  London,  and  in  1885  honoraiy 
member  of  the  Philadelphia  Society  of  Painter-Etchers. 

Among  the  best  kno\Mi  of  Mr.  Farrer's  earlier  works  were  a  series  of  eleven 
plates  illustrative  of  "Old  New  York."  These  have  been  withdrawn  from 
publication. 

His  most  important  and  interesting  plates  are: 

' ' Old  oak  tree,  twilight "  "On  the  marshes " 

"Chickens"  "TwiUght" 

"The  washerwoman"  "October" 

"A  cloudy  day"  "Sunset" 

"  A  November  day  "  "  Winter  " 

"  Twilight  on  the  creek  "  "  Staten  Island  shore  " 

' ' December "  "On  New  York  Bay  " 

"  Sunset,  Coast  of  Maine "  "  Sandy  Hook  Ught " 

"Winter  in  the  woods"  "A  shady  spot  on  a  sunny^road" 

"Old  house  b}'  the  roadside"  "Simset  on  East  River" 

"On  the  beach  at  Bay  Ridge" 

(American  Art  Review,  1880.) 

Fenn,  Hakry,  (P.,  I.,  E.)  b.  Richmond,  England,  September  14,  1845;  d. 
Montclair,  N.  Y.,  April  21,  1911.  At  the  age  of  nineteen  he  came  to  America, 
ostensibly  to  see  Niagara  Falls.  He  remained  in  this  country  for  six  years 
and  then  went  to  Itah'  to  stud}'.  Shortly  after  his  return  to  the  United 
States  he  illustrated  his  first  book,  WTiittier's  "Snowbound,"  which  was  soon 
followed  by  the  "Ballads  of  New  England."  These  were  the  first  illustrated 
gift  books  produced  in  this  count  ly  and  marked  an  era  in  the  histoiy  of  book- 
making.  In  1870  he  made  an  extended  tour  of  the  United  States  to  gather 
material  for  "Picturesque  America." 

He  was  one  of  the  founders  of  the  American  Water  Color  Society,  a  member 
of  the  New  York  Water  Color  Club,  the  Society  of  Illustrators  and  the  Sal- 
magundi Club.     (American  Art  Annual,  Vol.  9.) 

Fisher,  H.\rriso-V,  (I.)  b.  Brooklj-n,  N.  Y.,  July  27,  1875.  Manifested 
his  artistic  inclinations  at  the  age  of  six  and  was  early  instructed  in  drav^ing 
and  painting  by  his  father  who  was  an  artist.  His  family  removed  to  San 
Francisco  and  he  studied  at  the  Mark  Hopkins  Institute  of  Art.  At  sixteen 
he  did  drawing  for  a  San  Francisco  newspaper.  Two  sketches  accepted  by 
the  editor  of  "Puck"  secured  him  a  staff  position.  I^ater  he  did  serial  work 
for  the  "Saturday  Evening  Post,"  and  went  abroad  for  material  to  furnish 
the  pictorial  part  of  some  articles  for  McClure's  magazine.  He  has  illustrated 
for  "Life,"  "Ladies'  Home  Journal,"  Scribner's,  etc. 
11 


82 

The  creator  of  the  "Fisher  girl"  it  has  been  estimated  has  turned  out  of 
hand  more  than  a  thousand  studies  of  the  American  girl. 

"  In  a  personal  way  he  reflects  a  boyish  sincerity  with  a  philosophic  regard 
to  essentials."     (Bookman,  11:140.) 

Fisher,  (William)  Mark,  (P.)  b.  in  Boston  of  English  and  Irish  parents; 
educated  in  the  public  schools;  studied  art  at  Lowell  Institute,  later  was  a 
pupil  of  George  Inness  at  ^ledfield.  Went  to  Paris  at  twenty  and  studied 
in  Gleyre's  atelier;  settled  in  Boston,  but  had  small  success;  went  to  England 
to  live  where  he  now  is  well  known  as  landscape  and  animal  painter,  ex- 
hibiting at  the  Royal  Academy  and  elsewhere.  He  is  very  highly  regarded 
in  England  and  his  works  are  in  the  finest  public  and  private  collections. 

Best  known  paintings  are: 

" The  meadows "  "A  Scotch  hillside " 

"On  the  Cam "  " Early  summer " 

"Noon"  "Evening" 
"A  canal  jump  on  the  Oise" 

George  Moore  in  "Modern  painting"  says:  "Mark  Fisher's  painting  is 
optimistic.  His  skies  are  blue,  his  sunlight  dozes  in  the  orchard,  his  chestnut 
trees  are  in  bloom.  The  melodrama  of  nature  never  appears  in  his  pictures ; 
his  lanes  and  fields  reflect  a  gentle  mind  that  has  found  happiness  in  observing 
the  changes  of  the  season." 

In  Januar\%  1911,  Mr.  Fisher  was  elected  associate  member  of  the  Royal 
Academy,  London. 

Flagg,  James  Montgomery,  (I.)  b.  Pelham  Manor,  Westchester  Co.,  N. 
Y.,  June  18,  1877.  Educated  in  New  York  public  schools,  Dr.  Chapin's 
private  school;  studied  at  Art  Students'  League,  New  York,  four  years  in 
Herkomer's  Art  School,  Bushey,  England,  and  also  under  Victor  Maree  in 
Paris.  Became  illustrator  for  St.  Nicholas  Magazine,  1890;  has  been  drawing 
for  "Judge"  and  "Life"  since  1892;  illustrator  for  the  various  magazines. 
Painted  portraits  in  Paris,  1900;  also  in  St.  Louis  and  New  York.  Exhibited 
portraits  in  the  Paris  salon  of  1900;  also  portraits  in  oil  and  water  color  in 
National  Academy  of  Design  and  New  York  Water  Color  Club.  Life  member 
of  the  Lotus  Club. 

Author:  "Yankee  girls  abroad,"  "Tomfoolery,"  "If — a  guide  to  bad 
manners,"  "Why  they  married,"  "All  in  the  same  boat,"  "City  people." 
(Who's  Who,  19i2.) 

Foote,  Will  Howe,  (P.)  b.  Grand  Rapids,  Michigan,  June  29,  1874. 
Pupil  of  the  Art  Institute,  Chicago,  Art  Students'  League  of  New  York, 
Julien  Academy  under  Laurens  and  Benjamin-Constant  in  Paris.  Received 
honorable  mention  at  the  Pan-American  Exposition,  Buffalo,    1901,  third 


83 

Hallgarten  prize  National  Academy  of  Design,  1902,  bronze  medal  at  St. 
Louis  Exposition,  1904.  Member  Paris  American  Art  Association.  In- 
structor at  Art  Students'  League  of  New  York. 

Forbes,  Edwix,  (P.,  E.)  b.  New  York,  1839;  d.  Brooklyn.  N.  Y.,  March  6, 
1895.  Began  the  study  of  Art  in  1857  and  two  years  later  became  pupil  of 
A.  F.  Tait.  At  first  devoted  himself  to  animal  painting;  afterwards  gave 
more  attention  to  genre  and  landscape.  During  the  ci^-il  war  he  was  a 
special  artist  for  Frank  Leslie's  Illustrated  newspaper,  and  his  studies  of 
battle  scenes  were  done  in  etchings,  he  being  the  first  etcher  in  America. 
These  etchings  called  "Life  studies  of  the  great  army"  have  a  value  as  a 
record  of  military-  life  during  the  civil  war.  General  Sherman  boug  h  the 
first  proofs  of  these  sketches  for  the  V.  S.  government,  and  they  are  now  in 
the  war  department,  Washington. 

The  most  noted  are: 

"  The  reliable  contraband  "  "  Coming  through  the  lines  " 

"  The  sanctuar}^ "  "  A  night  march  " 

"  Returning  from  picket  duty  "         "  The  reveille  " 

In  New  York  in  1865  he  produced  "Lull  bi  the  fight."  This  picture 
contains  thirty  figures  and  represents  a  scene  in  the  battle  of  the  wilder- 
ness. 

In  1878  he  established  a  studio  in  Brookl\Ti,  N.  Y.,  and  devoted  himself 
mainly  to  landscape  and  cattle  pieces. 

Honorary  member  London  Etching  Club. 

Foster,  Bex,  (P.)  b.  North  Anson,  Maine,  July  31,  1852.  When  eighteen 
years  of  age  he  went  to  New  York  where  he  was  employed  in  mercantile 
business  until  he  was  about  thirty  when  he  decided  to  devote  himself  to  art. 

Studied  with  Abbot  Thayer  and  at  the  Art  Students'  League  of  New  York. 
Went  to  Paris  in  1886  and  continued  his  studies  under  01i\ier  ^lerson  and 
Aime  Morot;  exhibited  in  the  Paris  salon;  returned  to  New  York  in  1887; 
regularly  represented  at  the  exhibitions.  Associate  member  National 
Academy  of  Design,  1901 ;  full  member,  1904. 

Mr.  Foster  has  given  much  attention  to  the  painting  of  landscapes  and 
sheep;  his  favorite  subjects  are  night  effects  and  woodland  scenes.  His 
compositions  are  marked  by  a  large  feeling  of  unity.  "He  treats  a  morsel 
of  landscape,  but  as  a  part  of  the  big  mysterious  scheme  of  things."  (The 
artist  29:xx.) 

Among  his  most  important  works  in  oil  are: 

"  A  dreary  road  "  "  Fontainbleau  forest " 

"  A  Maine  hillside  "  "  First  days  in  spring  " 

"All  in  a  misty  moonshine"  "A  windy  night" 


84 


"The  evening  star" 

"A  wet  day  in  the  pines" 


"  Now  the  day  is  over  " 
"Sunset  in  the  Litchfield  Hills" 
"In  the  Green  Mountains" 


Also  in  water  colors: 

"The  day  is  done" 
"The  laggard" 


"The  shepherd" 


His  painting  "Lulled  by  the  murmuring  stream,"  exhibited  at  the  Paris 
Exposition  1900,  was  purchased  by  the  French  government  for  the  Luxem- 
bourg Gallery. 

In  autumn  of  1900  he  was  awarded  the  silver  medal  and  the  $1,000  at  the 
Carnegie  Institute,  Pittsburgh,  for  "Misty  moonlight,"  and  in  the  spring  1901, 
at  the  exhibition  of  the  Society  of  American  Artists,  he  was  awarded  the  Webb 
prize  for  the  most  meritorious  landscape  painted  by  an  American. 

FouRNiER,  Alexis  Jean,  (P.,  I.)  b.  St.  Paul,  Minn.,  July  4,  1865.  At  the 
age  of  fifteen,  ambitious  to  accomplish  something  with  brush  and  color,  he 
found  employment  in  a  Minneapolis  sign  shop;  soon  after  this  he  engaged 
to  assist  in  scene-painting.  In  the  fall  of  1893  he  went  to  France  and  entered 
the  Acad^mie  Julien,  Paris;  studied  also  under  Jean  Paul  Laurens,  Benjamin- 
Constant,  Gustav  Courtois  and  Henri  Harpignies. 

One  of  his  earliest  paintings,  "A  spring  morning  near  Minnehaha  Creek" 
was  exhibited  in  the  salon  of  1894.  Of  his  last  painting  exhibited  in  the  salon 
and  which  was  hung  next  to  a  Gerome,  the  Figaro  commenting  on  its  merits, 
said  that  it  was  one  of  the  best  paintings  in  the  room. 

In  the  summer  of  1907,  Mr.  Foumier  went  to  the  village  of  Barbizon, 
France,  to  paint  the  studios  and  homes  of  the  great  French  painters  known 
as  the  "Men  of  1830."  These  canvases,  which  are  full  of  the  atmosphere 
and  spirit  of  the  place,  are: 


"Studio  of  Millet" 
"Home  of  Diaz" 
"Dupre's  studio" 

Other  characteristic  works  are: 

"Moonlight  on  the  lagoons" 
"Old  orchard,  Normandy" 
"When  golden  evening  fades" 


"Rousseau's  cottage" 

"River  Oise — Daubigny's  houseboat" 

"Corot's  home" 


"The  shepherd's  return" 
"  Peaceful  night,  Normandy  " 
"Sunset  after  rain"  (particularly  note- 
worthy) 


His  "Crepuscule"  exhibited  in  the  Paris  salon  is  called  perfect  in  tone. 
"He  is  not  a  painter  of  ideal  scenerj-  but  a  painter  of  nature,  interpreting 


85 

her  moods  with  true  poetic  feeling.  He  believes  the  mission  of  a  painter  of 
out-of-doors  is  to  show  Nature  in  her  fine  moods — her  harmony  and  music, 
as  it  were."     (Brush  &  P.  4:243.) 

FoAVLER,  Frank.  (P.,  I.)  b.  Brooklyn,  N.  Y.,  July  12,  1852;  d.  New  Canaan, 
Conn.,  August  18.  1910.  Pupil  of  Edwin  White  in  America,  and  Carolus- 
Duran  and  Ecole  des  Beaux  Arts  in  Paris.  Received  bronze  medal,  Paris 
Exposition,  1889;  bronze  medal,  Pan-American  Exposition  1901.  Elected 
a  member  of  the  National  Academy  of  Design,  New  York,  in  1900;  member 
of  the  Society  of  American  Artists,  1882.  Specialty,  portraits;  among  his 
noteworthy  portraits  are  those  of  Governor  Tilden,  Governor  Flowers,  Wil- 
liam Dean  Howells  and  ^ladame  ^lodjeska.  Mr.  Fowler  is  also  a  teacher 
and  the  author  of  several  works  on  art,  among  them  being  "  Portrait  and  figure 
painting." 

Eraser,  James  Earle,  (S.)  b.  Winona,  Minn.,  November  4,  1876.  When 
eighteen  years  of  age  he  entered  the  Art  Institute  at  Chicago  and  six  months 
later  went  to  Paris  to  enter  the  Ecole  des  Beaux  Arts.  "His  work  in  the 
salon  exhibit  of  1897-98  not  only  won  the  prize  offered  to  American  artists 
but  so  impressed  Saint-Gaudens  who  was  a  member  of  the  committee  of 
awards  that  he  wrote  to  the  young  sculptor.  The  result  was  that  Fraser 
went  to  Saint-Gaudens,  returned  to  the  United  States  with  him  in  1900  and 
worked  with  him  until  1902  when  he  established  himself  in  New  York.  At 
present  he  has  the  distinction  of  being  the  oldest  resident  in  the  artists  colony 
in  Macdougal  Alley,  and  he  is  an  instructor  at  the  Art  Students'  League. 
Mr.  Fraser  is,  perhaps,  the  first  among  the  successful  pupils  of  the  late  Au- 
gustus Saint-Gaudens. 

Helen  Christine  Bennett  writes  (Arts  &T>.1 :375) :     "  The  rehef  of  the  TVTiit- 

ney  children  upon  their  horses  is  particularly  attractive The  bust 

of  Cornelius  Y.  Whitney  is  that  of  a  verj*  handsome  boy  to  whom  the  sculptor 
has  done  justice.  The  head  of  June  Evans,  especially  in  profile,  shows  great 
delicacy  in  handUng  and  a  certain  subdued  piquancy  of  expression  which 
indicates  a  depth  of  treatment  not  shown  in  the  other  two." 

A  rehef  of  Horatio  Hathawaj'  Brewster  was  the  first  rehef  portrait  done 
by  ^Ir.  Fraser  which  caught  the  popular  fancy.  A  bust  of  Theodore  Roose- 
velt shows  not  only  skilful  but  powerful  treatment.  An  impression  of  ilary 
Garden  as  "  Mehsande"  reveals  a  poetic  side  of  the  work  of  the  sculptor. 

French,  Daniel  Chester,  (S.)  b.  Exeter,  N.  H.,  April  20.  1850.  Was 
educated  in  his  native  town  and  at  Cambridge,  Amherst  and  Boston,  ilass. 
At  the  age  of  eighteen  he  began  to  model  and  his  efforts  met  wdth  encourage- 
ment from  Louisa  il.  Alcott  who  suggested  that  he  seek  systematic  instruc- 
tion. His  first  subjects  were  animals,  portrait  reliefs  and  busts  of  friends. 
He  attended  Dr.  Rimmer's  lectures  on  artistic  anatomv  and  studied  the 


86 

antique  sculptures  in  the  Boston  Athenaeum.     Is  honorary  president  of  the 
National  Sculpture  Society. 

Mr.  French  received  his  commission  for  the  "Concord  Minute-man"  when 
he  was  twenty-three  years  of  age.  This  was  finished  in  1874  and  he  then 
went  abroad  for  the  first  time.  He  studied  two  years  in  Florence  with  the 
American  sculptor  Thomas  Ball.  In  1886  he  again  went  abroad,  this  time 
to  Paris  where  he  drew  from  the  models  in  the  class  of  M.  L6on  Glaize.  Since 
his  return  to  the  United  States  in  1887  he  has  permanently  resided  in  New 
York.  Received  honorable  A.  M.  Dartmouth,  1898.  Associate  member 
National  Academy  of  Design,  1900;  full  member,  1901. 

Busts  of  Ralph  Waldo  Emerson  and  Bronson  Alcott,  a  frieze  representing 
Greeks  carrying  offerings  and  several  portraits  in  the  round,  low  and  high 
reliefs  are  his  early  works. 

In  collaboration  with  Mr.  Edward  Clark  Potter,  ^Ir.  French  has  produced 
three  equestrian  statues  of  high  value.  "Washington"  presented  to  France 
by  the  Daughters  of  the  Revolution,  placed  in  the  Place  d'Lena,  Paris, 
"General  Grant"  in  Fairmount  Park,  Philadelphia,  and  "General  Joseph 
Hooker  "  in  Boston. 

Mr.  French's  monumental  architectural  reliefs  are  distinguished  specimens 
of  this  new  phase  of  art.  "Death  and  the  sculptor" — the  ^lilmore  memorial 
— won  him  a  medal  in  the  Paris  salon  of  1891.  The  John  Boyle  O'Reilly 
memorial,  Boston,  is  a  work  of  rare  strength  and  beauty.  In  the  "Alice 
Freeman  Palmer  memorial,"  Wellesley  College,  executed  in  Carrara  marble, 
the  technical  details  have  been  rarely  wrought.  The  "Gallaudet  group"  at 
Washington,  D.  C,  is  one  of  his  most  pleasing  portrait  monuments.  His 
imposing  "Alma  mater"  now  adorns  the  approach  of  the  Library  of  Col- 
umbia University,  New  York,  and  he  furnished  two  monumental  groups  for 
the  Cleveland,  Ohio,  federal  building. 

Other  important  creations  are:  A.  R.  Meyer  monument,  Kansas  City, 
Francis  Parkman  monument,  Boston;  Melvin  memorial  monument.  Concord, 
Mass.;  Hunt  memorial.  New  York;  Marshall  Field  memorial,  Chicago;  statues 
of  General  Cass,  John  Harvard  and  Rufus  Choate  and  Governor  Oglethorpe 
of  Georgia;  bust  of  Phillips  Brooks,  the  well-remembered  "Statue  of  the 
Republic"  at  the  Columbian  Exposition,  1893,  and  the  bronze  doors  of  the 
Boston  Public  Library.  Low  relief  work  is  one  of  the  final  tests  of  a  sculptor's 
skill,  and  here  Mr.  French  has  shown  his  skill  to  be  quite  equal  to  his  refined 
taste. 

Since  the  death  of  Augustus  Saint-Gaudens,  Daniel  Chester  French  stands 
at  the  head  of  modem  American  sculpture. 

y/  Frikskke,  Fr?:deric  Carl,  (P.,  Mural  P.)  b.  Owosso,  Mich.,  April  7,  1874. 
Studied  at  Chicago  Art  Institute  and  in  Paris  under  l^enjamin-Constant, 
Laurens  and  Whistler.  Exhibits  in  Europe  and  America.  In  1904  one  of 
his  pictures,  "Before  the  glass" — was  purchased  by  the  French  government 


87 

for  the  Luxembourg  Gallery.  He  is  also  represented  in  the  Modern  Gallery 
in  Vienna ;  is  the  possessor  of  a  gold  medal  from  Munich  and  won  a  prize  from 
the  Corcoran  Gallery  of  Art,  Washington,  D.  C.  In  1908  he  was  elected 
societaire  of  the  Societe  Nationale  des  Beaux  Arts,  Paris,  since  which  time 
his  works  are  accepted  by  the  salon  without  the  inspection  of  a  jury.  In 
1912  he  was  elected  an  associate  member  of  the  National  Academy  of  New 
York  City. 

Among  ^Ir.  Frieseke's  figure  subjects  his  decorative  canvas  "Youth" 
illustrates  the  firmness  of  his  modeling,  and  "The  Chinese  parasol"  and  "The 
girl  with  bird  cage  "  are  also  typical  examples  of  his  work. 

Other  popular  paintings  are: 

"  The  green  sash  "  "  Repose  at  noonday  " 

"  Misty  morn  "  "  Among  the  hollyhocks '.' 

"Lady  on  a  gold  couch"  "Autumn" 

' '  Breakfast  in  the  garden  "  "  The  toilet " 
"  The  yellow  room  " 

"One  strong  feature,  more  pleasing  in  the  work  of  Frieseke  than  in  that 
of  many  other  members  of  the  American  colony  in  Paris,  is  his  sense  of  design 
and  balance."     (Int.  studio  43:273.) 

Brilliant  sunshine  has  been  his  particular  study  for  several  years.  He 
delights  in  rendering  effects  of  sunlight  upon  green  foliage. 

Clara  MacChesney  in  waiting  of  the  work  of  this  artist,  says:  "The  charm 
of  Frieseke  is  in  the  light  and  color  of  his  canvas.  His  color  is  purer  and 
higher  in  key  but  lacks  the  mysteiy  of  Aman-Jean's.  His  pictures  are  more 
crowded  as  to  composition,  but  decorative  in  desiga  like  Blanche's.  Bril- 
liant garden  scenes,  palpitating  with  light  and  color,  landscapes,  interiors 
representing  intimate  scenes  of  the  toilet  or  pictures  of  nude  women,  and 

mural  decorations  form  his  chief  line  of  work He  knows  nothing 

about  flowers  and  cares  less,  nor  does  he  make  a  careful  study  of  them  nor 
of  different  kinds  of  gardens,  but  his  one  idea  is  to  portray  the  dazzle  of  light 
and  of  color  of  flowers  seen  in  sunlight." 

As  a  mural  decorator  he  is  best  known  for  his  large  decorations  at  John 
Wanamaker's  store  in  New  York.  Of  his  decorations  in  Hotel  Shelbourne, 
Atlantic  City,  also  of  his  mural  painting  in  the  Rodman  Wanamaker  Hotel 
and  the  Amphitheater  of  Music,  New  York,  a  correspondent  and  art  critic 
says:     "Frieseke's  decorations  are  subdued  and  harmonious." 

^Ir.  Frieseke  lives  in  France  and  has  a  charming  home  at  Giverney,  that 
haven  of  artists. 

Fromuth,  Charles  Henry,  (P.)  b.  Philadelphia,  Pa.,  Februarj'^  23,  1861. 
Pupil  of  the  Pennsylvania  Academj'  of  the  Fine  Arts  under  Thomas  Eakins. 
Received  second  class  gold  medal  at  the  International  Exposition  of  the 
Fine  Arts,  Munich,  1897;  silver  medal,  Paris  Exposition,  1900;  gold  medal 


S8 

St.  Louis  Exposition,  1904.  Associate  Soci^te  Nationale  des  Beaux-Arts, 
Paris,  Member  London  Pastel  Society,  Society  des  Peintures  de  Marine, 
Paris;  Berlin  Secession  Society  of  Painters.     Specialty,  marines. 

The  English  Illustrated  ^Magazine  for  April,  1912,  refers  to  Mr.  Fromuth 
as  "an  artist  of  undisputed  distinction,  recently  acknowledged  to  be  the 
leading  pastel  painter  in  the  world " 

"The  works  of  this  master  of  pastel  are  nearly  all  scenes  in  harbor  and 
groups  of  sardine  boats  painted  under  varying  conditions  of  light." 

"Mr.  Fromuth's  pictures  reveal  his  extraordinary  knowlege  of  wave 
movement  and  cloud  form,  his  sensitiveness  to  light  and  shade  and  his  com- 
plete masteiy  of  color  and  effect    When  a  painter  names  his 

pictures  "Fluid  water  at  evening,"  "The  mirror  of  the  storm,"  "Harbor 
waters  caressed  by  overhead  clouds,"  "In  the  jungle  of  the  sardine  fleet," 
etc.,  we  feel  that  the  subjects  are  chosen  for  their  spiritual  meaning  as  well 
as  their  pictorial  message." 

Frost,  Arthur  Burdett,  (I.)  b.  Philadelphia,  Pa.,  January  17,  1851. 
He  began  his  career  in  a  wood-engraver's  establishment  and  later  took  up 
lithography  at  the  same  time  devoting  his  evenings  to  the  study  of  drawing. 
In  1872  he  furnished  a  number  of  illustrations  for  "Out  of  the  hurly-burly" 
by  Charles  Heber  Clarke,  which  was  very  successful  and  since  then  he  has 
illustrated  works  by  various  authors.  Frank  B'  Stockton  (whose  works  he 
illustrated)  said  of  him.     "By  nature  ^Ir.  Frost  is  essentially  a  humorist." 

In  1877  he  went  to  England  to  study  and  work,  but  preferring  American 
life  and  atmosphere,  returned  in  1878. 

As  a  chronicler  of  phases  of  American  life  he  has  been  called  the  Mark 
Twain  of  the  illustrators. 

"His  compositions  are  apparently  done  so  easily,  he  realizes  his  scenes 
as  perfectly  himself  and  is  so  convincing  in  his  placing  of  the  accent  that  one 
has  no  hesitation  in  saying  that  it  is  that  of  a  cheerful,  healthy  optimism 
bred  in  sunny  American  country  life." 

"In  his  execution,  he  relies  mainly  upon  sketches  of  white  paper  and  an 
equal  distribution  of  parallel-tint  and  cross-hatch  shading." 

"How  wonderful  it  is  that  week  in  and  week  out,  drawing  a  hundred  land- 
scapes to  Ruysdael's  one,  a  hundred  tramps  to  Callot's  and  Ostade's  one, 
he  is  able  to  suggest  so  vividly  the  effect  of  sunlight  upon  distant  meadow, 
and  the  homely  poses  of  what,  were  America  the  old  world,  would  be  called 
the  peasant  class."     (Knaufft.) 

No  one  else  drawing  animals  realistically  can  make  them  so  truly  funny. 
(Ind.  59:1397.) 


v/ 


FuLLKR,  GK()R<iK,  (P.)  b.  Decrfield,  Mass.,  January  16,  1822;  d.  Boston, 
Mass.,  March  21,  1884.  Studied  in  New  York,  Boston,  London  and  on 
the  continent  of  Europe.     He  was  made  associate  of  the  National  Academy 


89 

of  Design,  New  York,  in  1853,  but  his  painting  was  unremunerative  and  on 
the  death  of  his  father  he  took  up  farming.  After  fifteen  years  of  farm  life, 
he  went  to  Boston  and  found  purchasers  for  his  paintings,  meeting  A\-ith 
success  as  a  professional  artist. 

"The  beny  pickers"  placed  him  among  the  first  painters  of  the  world 
and  to  his  "Romany  girl"  he  owes  his  gi-eatest  reno\\Ti.  Among  his  best 
works  are:     "Winifred  Dysart,"  "Turkey  pasture"  and  "She  was  a  witch." 

A  memorial  exhibition  of  his  works  at  the  Museum  of  Fine  Arts,  Boston, 
1884,  comprised  175  paintings,  of  which  the  following  are  best  known: 

"Cupid"  "Puritan  boy" 

"Romany  girl"  "Fagot  gathering" 

"  The  quadroon "  "  Arethusa " 

"Nydia"  "Negro  nurse  with  child" 

"  Turkey  pasture  "  "  Shearing  the  donkey  " 

' '  Pasture  Avith  geese  "  '  *  ]kIaidenhood  " 

"  Fedalma  '  "  Driving  home  the  calf  " 

"  Evening— Lorette  "  "  Priscilla  " 

"  At  the  bars  "  "  TwiUght  on  prairie  " 

"  Hannah ''  "  Girl  and  calf  " 

"Psyche"  and  portrait  of  Henrj'  B.  Fuller. 

"Bern,-  pickers" 

"He  was  preeminently  an  idealist,  possessed  of  a  genius  for  dreamy  light 
effects,  somewhat  akin  to  Corot's."     (Nat.  Cyc.  Am.  Biog.) 

"The  soul  of  his  art  was  selection  .  .  He  believed  the  province  of  art 
is  to  call  attention  to  the  beauties  of  nature,  not  to  insist  upon  the  defects, 

the  deformities  and  the  vulgarities  of  man  or  nature He  never 

painted  a  brutal  head.  If  he  saw  brutaUty  he  did  not  like  it  and  would  not 
represent  it."     (F.  D.  Millet,  Harper's  69:517.) 

Fuller,  Luci.v  Fairchild,  (Mrs.  Henr}-  B.  Fuller),  (Min.  P.)  b.  Boston, 
Mass.,  December  6,  1872.  Received  bronze  medal  at  the  Paris  Exposition, 
1900;  silver  medal  at  Pan-American  Exposition,  Buffalo,  1901.  Is  member 
of  the  Society  of  American  Artists.  Was  elected  associate  member  of  the 
National  Academy  of  Design,  New  York,  1906. 

Mrs.  Fuller  stands  side  by  side  with  Miss  Laura  Coombs  Hills  in  method 
and  in  nature  of  results.  "  With  her  women  and  with  her  children  she  s\nng3 
into  plaj'  all  the  tenderness  of  drawing  and  all  the  fascination  of  transparent 
flesh  tones."     (Critic  47:524.) 

"Her  portraits  relate  to  the  olden  times  when  the  art  flourished  under  the 
masters  who  created  it  and  her  technique  is  above  reproach." 

Her  "Mother  and  child"  from  a  background  of  blue  brocade,  beautified 
by  age  into  faded  purple  ....  recalls  the  feeUng  that  touches  the  heart  in 
Delia  Robbia's  babies.     (Gent.  60:820.) 


90 

"Mrs.  Fuller's  achievements  are  achievements"  and  her  "Portrait  of  a 
boy"  is  splendidly  painted,  "soft  and  rich  in  color  and  of  a  simplicity  equal 
to  the  drawings  by  Boutet  de  Monvel,  withal  of  greater  depth."  (Gardner 
C.  Teall,  Brush  &  IP.  6:26.) 

Successful  imaginative  figure  compositions  are: 

"In  the  days  of  King  Arthur" 
"The  Chinese  jacket" 

Her  "Artemidora"  at  the  r2th  annual  exhibition  of  the  American  So- 
ciety of  Mural  Painters,  shows  a  full  appreciation  of  the  beauty  and  purity 
of  the  material  on  which  the  miniaturist  works.  Alice  T.  Searle  says:  "In 
this  nude,  a  study  of  a  woman's  figure  of  classic  beauty  in  an  unusual  pose, 
the  delicacy  and  sensitiveness  of  line  in  the  drawing  was  suggestive  of  an 
etching  with  a  slight  staining  of  color  over  the  whole." 

Mrs.  Fuller  charms  and  delights  the  lover  of  miniature. 

Garber,  Daniel,  (P.)  Pupil  of  Cincinnati  Art  Academy  under  V.  No- 
wottny,  and  Pennsylvania  Academy  of  the  Fine  Arts  under  Anschutz.  Won 
the  Cresson  scholarship  P.  A.  F.  A.,  1905,  first  Hallgarten  prize  N.  A.  D., 
1909;  also  the  Potter  Palmer  gold  medal  carrying  with  it  the  sum  of  $1,000, 
at  a  recent  exhibition. 

Of  his  "Towering  trees,"  a  writer  for  Art  and  Progress  (vol.  3:454)  says: 
"  It  is  an  unusual  composition,  decorative  in  effect,  showing  a  screen  of  lofty 
blue-green  pepper  trees  on  the  marshy  shore  of  a  stream,  bej^ond  which  one 
catches  a  glimpse  of  a  distant  landscape  and  bits  of  enchanting  sky." 

Gaul,  William  Gilbert,  (P.,  I.)  b.  Jersey  City,  N.  J.,  March  31,  1855. 
Educated  in  the  local  schools  of  Newark  and  at  Claverack  ^lilitary  Academy. 
Began  the  study  of  art  in  New  York  City  with  J.  G.  Brown,  and  is  one  of  our 
best  known  illustrators. 

In  1872  his  first  picture  was  exhibited  at  the  Academy  of  Design. 

"While  Mr.  Gaul  has  treated  other  subjects  with  sympathy  and  charm, 
it  is  in  a  painter  of  battles  and  soldier  life  that  he  is  most  widely  known. 

Many  of  his  paintings  represent  the  picturesque  features  of  army 

life  on  the  plains  of  the  far  west." 

He  ha.s  illustrated  a  number  of  books  and  his  work  in  black  and  white 
has  appeared  in  all  the  leading  nuigazines. 

"Holding  the  line  at  all  hazards"  won  a  gold  medal  from  the  American 
Art  Association  in  1881,  and  "Charging  the  batteiy  "  elected  him  a  member 
of  the  National  Academy  of  Design  in  1889.  At  the  World's  Columbian 
Exposition,  1893,  his  illustrations  won  a  medal.     (Nat'l.  Cyc.  Am.  Biog.) 

".Mr.  Gaul's  work,  often  spirited,  is  always  forcible  and  interesting." 
("American  art  and  artists,"  p.  359.) 


m 

Gay,  Walter,  (P.)  b.  Hingham,  Mass.,  Januarj-  22,  1856.  His  youthful 
efforts  in  painting  were  flower  pieces.  At  the  age  of  nineteen  he  went  to 
Paris  and  entered  the  ateher  of  Leon  Bonnat  who  chose  one  of  his  Ufe  studies 
to  be  placed  on  the  wall,  where  it  hung  for  many  years,  being  the  only  one 
thus  honored.  In  1879  he  \isited  Spain  and  that  same  year  exhibited  in 
the  salon  of  the  Champs  Elysees  his  picture  entitled  "The  fencing  lesson." 
It  was  placed  on  the  line.     He  is  a  regular  contributor  to  the  Paris  salon. 

Received  honorable  mention  Paris  salon,  1885;  third  class  medal  salon 
of  1888;  gold  medal,  Vienna,  1893;  gold  medals  Antwerp  and  Munich,  1894; 
gold  medal  Berlin.  1896;  silver  medal,  Paris  Exposition,  1900;  chevalier  of 
the  Legion  of  Honor,  1894;  cross,  1906.  Associate  member  Societe  Nationale 
des  Beaux  Arts;  member  Societe  des  Amis  du  Louvre,  Paris.  His  works  are 
hors  concours  at  the  Paris  salons. 

Mr.  Gay  paints  chiefly  the  peasants  of  Western  France. 

"Saying  Grace"  was  awarded  a  gold  medal  of  the  third-class,  and  this 
painting  with  "Cigarette  makers,"  was  purchased  by  the  French  government 
for  the  Luxembourg. 

Other  popular  paintings  are: 

"Young  girl  with  a  geranium"  "The  seAving  lesson" 

"  Plain  chant "  "  A  master  stroke  " 

"  Mass  in  Brittany  "   .  "  Knife  grinder  " 

"The  spinners"  "Trained  pigeons" 

"A  weaver"  "Conspiracy  under  Louis  XVI" 

Mr.  Gay  is  represented  in  the  Tate  collection.  London,  Metropolitan  Museum 
of  Art,  New  York,  ^luseum  of  Fine  Arts,  Boston,  and  in  many  private  col- 
lections. 

"Through  large  windows  hung  with  thin  curtains,  the  bright  daylight  falls 
into  the  clean  rooms  of  peasants,  gleaming  on  the  boards  of  the  floor,  the  tops 
of  the  tables  and  the  white  caps  of  the  women  who  sit  at  their  work  sewing." 
It  is  a  familiar  problem  of  light.     (Miither.) 

Gexth,  Lilliax  ^Iatilde,  (P.)  b.  1876.  Graduate  of  the  School  of  Design, 
Philadelphia,  Pa.,  in  1900,  (fellowship  to  Paris);  studied  under  Whistler  and 
at  Atelier  Colarossi.  Won  ^laiy  Smith  prize,  Pennsylvania  Academy  of  the 
Fine  Arts,  1904;  Shaw  prize.  National  Academy,  1907;  gold  medal  American 
Art  Society,  Philadelphia,  1907;  won  Hallgarten  prize  on  "Depth  of  the 
woods."     Associate  member  of  National  Academy  of  Design.  1908. 

"Birdsong"  has  been  purchased  by  the  Carnegie  Institute  for  the  per- 
manent exhibit.  "The  lark"  capably  executed  and  of  excellent  color,  won 
the  Shaw  memorial  prize.  "Golden  days"  is  one  of  her  most  characteristic 
paintings.  "Spirit  of  the  earth"  and  "Sun  maiden"  are  also  well  known, 
and  "The  promenade"  is  attractive.  "A  June  afternoon  "—one  of  her 
latest — is  an  anal3'tical  refinement  of  sunshine. 


92 

Miss  Genth  makes  a  specialty  of  nude  female  figures,  symbolical  nymphs 
in  sunshine  and  shadow. 

Gibson,  Charles  Dana,  (I.,  P.)  b.  Roxbury,  Mass.,  September  14,  1867. 
Began  his  studies  at  the  Art  Students'  League  of  New  York  at  the  age  of 
seventeen  and  continued  in  that  institution  during  1883  and  1884.  In  1886 
he  made  his  debut  as  an  artist  for  the  periodicals,  his  first  drawing  accepted 
being  "The  moon  and  I"  which  appeared  in  "Life."  Three  years  later  he 
gave  up  work  and  went  to  Paris  where  in  1889  he  was  enrolled  as  a  student 
in  the  Academic  Julien.  After  this  period  of  study  he  resumed  work  as  an 
illustrator;  has  a  studio  in  New  York. 

In  1893  he. went  to  Paris,  in  1895  to  London  and  in  1898  to  Munich  ac- 
quiring material  for  pictures  subsequently  published. 

"Mr.  Gibson  is  doubtless  to  be  regarded  as  one  of  the  foremost  of  modern 
illustrators.  His  technique  is  admirable.  He  works  in  three  media — pen, 
chalk  and  brush.  His  versatility,  however,  is  that  of  ideas  and  not  of  types. 
Few  artists  have  acquired  equal  reputation  with  as  few  distinct  characters. 
His  American  girls  are  one  American  girl— his  favorite,  and  for  a  certain 
class  of  pictures  almost  his  sole  female  model."     (Brush  &  P.  7:277.) 

The  drawings  of  Gibson  have  been  characterized  as  genteel  pictorial  comedy, 
and  probably  no  happier  nor  truer  phrase  could  be  devised  to  describe  them. 

GiES,  Joseph  W.,  (P.)  b.  Detroit,  Michigan.  Pupil  of  Bouguereau  and 
Robert-Fleury  in  Paris;  Royal  Academy  in  ^lunich.  Member  Society 
Western  Artists.     Director  Detroit  Art  Academy. 

GiFFORD,  Robert  Swain,  (P.,  E.)  b.  Naushon  Island,  Mass.,  December 
23,  1840;  d.  New  York,  January  15,  1905.  Educated  in  the  public  schools 
of  New  Bedford,  Mass. ;  studied  painting  under  Albert  VanBeest,  Rotterdam, 
Holland;  settled  in  New  York  in  1866;  made  sketching  tours  through  Cali- 
fornia and  Oregon  in  1869,  in  Europe  and  North  Africa  in  1870-71,  and  again 
in  1874-75  in  Brittany  and  other  parts  of  France.  Was  elected  associate 
member  of  the  National  Academy  of  Design,  New  York  in  1867;  full  member 
in  1878.     Member  of  the  Society  of  Painter-Etchers,  London. 

Mr.  Gifford's  range  of  landscape  is  unusually  wide;  he  has  painted  the 
heights  of  the  Sierras,  the  plains  of  Brittany  and  coast  of  New  England,  as 
well  as  Eastern  scenes.  He  is  best  known  through  his  Eastern  pictures  in 
which  his  rendering  of  Oriental  life  and  atmosphere  is  peculiarly  happy. 

In  1867  he  sent  three  marine  paintings  to  the  National  Academy  exhibition, 
— "Scene  at  Long  Jieach,"  "Cliff  scene.  Grand  Menau,"  "Vineyard  Sound 
light  ship," — and  on  their  merits  was  elected  associate  member  of  the  in- 
stitute. 


d3 


Oriental  paintings: 


"  An  Egyptian  caravan  "  "  Halt  in  the  desert " 

" Fountain  near  Cairo "  "Entrance    to    a    Moorish    house    in 

"  On  the  Nile  "  Tangiers  " 

"  View  of  the  Golden  Horn  "  "  The  palms  of  Biskra  " 

" Evening  on  the  Nile "  "Scene  in  the  Great  Square  of  the 

"  Rock  of  Gibraltar  "  Rumeyleh,  Cairo,  Egj'pt " 

His  autumn  landscapes  or  sketches  of  shore  are  rich  in  harmonies  of  tone. 
Of  his  "Woodland  pastures,"  Mr.  Gifford  writes:  "The  subject  is  from 
nature,  sketched  near  my  place  at  Nonquit  ....  I  have  painted  manj-  of  my 
best  pictures  in  this  locaUty." 

"The  glen"  is  an  excellent  example  of  his  style.  His  "Near  the  cost" 
won  the  $2,500  prize  of  the  American  Art  Association  in  1885. 

Mr.  Gifford  was  one  of  the  best  of  American  etchers  and  his  plates  have 
been  praised  by  the  most  competent  critics.  Of  his  "  Evening  "  S.  R.  Koehler, 
in  his  work  on  "Etching,"  says:  "In  my  humble  opinion,  it  is  about  the 
completest  bit  of  American  landscape  etching  yet  accomplished  without  loss 
of  freedom  or  breadth." 

Glackens,  William  J.,  (P.,  I.)  b.  Philadelphia,  Pa.,  March  13,  1870. 
Received  early  training  in  Pennsylvania  Academy  and  studied  scenes  and 
types  several  years  in  Europe;  exhibited  at  the  Paris  salon,  1896;  Paris  Ex- 
position, 1900.  McClure's  sent  him  to  Cuba  during  war  with  Spain.  Has 
received  medals  and  honorable  mention  at  the  exhibitions  of  various  art 
societies  in  this  countrj'^;  elected  A.  N.  A.,  1906. 

A  revolutionist  in  art,  he  is  from  an  American  standpoint  the  first  of  il- 
lustrators. The  art  editor  of  Scribner^s  has  made  his  work  a  feature  of  that 
magazine's  pages. 

"ilr.  Glackens  seeks  for  the  expression  of  an  idea,  for  the  depiction  of 
life  in  all  its  teeming  naturalness,  and  the  treatment  of  his  subject  is  not 
considered."  "His  tj-pes  are  often  the  growth  of  an  idea.  Most  of  them 
he  finds  from  street  obsers'ations,  using  a  model  only  for  the  actual  dra\\"ing." 

He  considers  high  lights  vulgar,  and  uses  mostly  the  flat  tints. 

"His  work  is  distinct  and  decidedly  radical  in  its  purport  and  inception. 
He  may  not  please  the  general  public,  but  has  won  the  unstinted  appreciation 
of  his  confreres  in  art,  and  of  those  who  value  originality  and  forceful  thought." 
(Bkmn.  11:244.) 

"Glackens'  paintings  are  invariably  interesting  for  the  artist  is  possessed 
of  an  exceedingly  fresh  and  engaging  point  of  view.  And  yet  with  all  its 
originahty  the  art  of  Glackens  is  closely  linked  with  that  of  Degas  and  Manet. 


"Glackens  possesses  much  knowledge  of  the  technique  of  painting  in  oils — 
that  most  difficult  of  all  media;  his  composition  and  his  palette  are  veiy 


04 

amusing.  His  drawings  fairly  reek  with  character  and  his  wonderfully  ex- 
pressive line  records  types  in  such  a  truthful  and  far-seeing  manner,  his 
penetrating  gaze  sees  so  far  beneath  the  surface  of  things,  that  one  can  only 
marvel  at  the  simple  manner  in  which  he  attains  his  ends."  (Int.  studio 
40:sup.  Ixviii.) 

Grafly,  Chakles,  (S.)  b.  Philadelphia,  Pa.,  December  3,  1862.  At  the 
age  of  seventeen  he  entered  a  stone-carving  establishment  in  order  to  gain 
practical  knowledge  of  the  sculptor's  craft;  he  remained  there  for  five  years. 
Studied  modeling  and  painting  under  Thomas  Eakins  at  the  Pennsylvania 
Academy  of  the  Fine  Arts  and  in  1888  went  to  Paris  and  entered  the  Aca- 
demie  Julien  and  studied  in  the  department  of  sculpture  under  Chapu;  later 
studied  in  the  Ecole  des  Beaux  Arts. 

Received  honorable  mention  in  the  Paris  salon  of  1891;  honorable  mention 
Temple  Fund,  1892;  gold  medal  of  honor,  Pennsylvania  Academy  of  the  Fine 
Arts,  1899;  gold  medal  Paris  Exposition  1900;  gold  medal  Pan-American  Ex- 
position, Buffalo,  1901.  Elected  associate  member  of  the  National  Academy 
of  Design,  New  York,  in  1902,  academician,  1905.  Mr.  Grafly  is  instructor 
of  sculpture  in  the  Pennsylvania  Academy  of  the  Fine  Arts;  also  member  of 
leading  art  clubs  in  the  United  States. 

In  the  salon  of  1890  he  made  his  debut  with  two  heads — "Daedalus"  and 
"St.  John";  the  former  was  subsequently  exhibited  in  Philadelphia,  pur- 
chased and  cast  in  bronze  by  the  academy  and  is  now  in  the  permanent  col- 
lection. His  life-size  nude  female  figure  "Mauvais  presage"  was  accorded 
honorable  mention  in  the  salon  of  1891 ;  is  now  in  the  Detroit  Museum  of  Art. 

Since  1896  he  has  resided  in  Philadelphia. 

The  most  original  of  his  diminutive  works  is  "The  symbol  of  life."  In 
the  Paris  Exposition  of  1900  five  of  his  works — "The  vulture  of  war,"  "The 
symbol  of  life,"  "From  generation  to  generation,"  "Portrait  of  my  mother" 
and  portrait  of  Mrs.  Charles  Grafly — were  exhibited  and  they  were  awarded 
a  gold  medal. 

Lorado  Taft  says  that  there  is  a  leaning  towards  symbolism  in  Mr.  Grafly's 
work — "He  seems  to  think  that  this  is  what  sculpture  is  for — the  expression 

of  one's  ideas  in  form Mr.  Grafly  lost  himself  for  a  time  in  an  Eg>-ptian 

chimera." 

fie  executed  the  main  fountain  "Man"  for  the  Pan-American  Exposition, 
Buffalo,  1901. 

Grayson,  Clifford  Provost,  (P.)  b.  Philadelphia,  Pa.,  July  14,  1859. 
Graduated  from  the  University  of  Pennsylvania  in  1878.  After  studying  at 
the  Pennsylvania  Academy  of  the  Fine  Arts,  he  went  to  Paris  the  same 
year  and  studied  in  the  Ecole  des  Beaux  Arts  and  in  the  Atelier  G^rome. 
Then  he  went  to  Pont  Aven  and  Concameau  where  some  of  his  most  suc- 
cessful pictures  were  painted.  Subsequently  he  opened  a  studio  in  Paris, 
and  l)e('ame  a  regular  contributor  to  the  salon. 


95 

His  first  painting  shown  in  the  salon  of  1882  was  "A  Breton  idyl."  This 
Avas  followed  by  " Going  to  market."  In  1883  his  "Rainy  day  at  Pont  Aven " 
was  hung  in  a  most  prominent  place  on  the  line  and  received  favorable  com- 
ment. "Ahoy,"  was  exhibited  in  the  salon  of  1884,  and  "Fisherman's 
family,"  1885.  "Midday  dreams"  won  $2,000  prize  in  1886  at  an  art  ex- 
hibition in  New  York. 

^Ir.  Grayson  returned  from  Europe  in  1891  to  become  director  of  the  art 
department  of  Drexel  Institute.     In  his  work  he  reminds  one  of  Jules  Breton. 

Greatorex,  Eliza,  (E.)  b.  ^lanor-Hamilton,  Ireland;  d.  Paris,  France, 
1897.  In  1840  she  came  to  New  York  with  her  family,  and  in  1849  married 
Henry  W.  Greatorex,  a  well-known  musician  and  organist.  Being  early 
left  a  widow  with  three  children  she  made  art  her  profession  and  went  to 
Paris  where  she  studied  under  Lambinet  for  a  j'ear  and  later  at  the  Pina- 
kothek,  ^lunich.  After  this  period  of  study  she  returned  to  New  York  and 
in  1869  she  was  elected  an  associate  member  of  the  National  Academy  of 
Design,  New  York — an  honor  which  at  that  time  only  one  other  woman, 
Mrs.  Bogardus,  shared  Avith  her;  she  was  the  first  woman  to  be  elected  a 
member  of  the  Artists  Fund  Society  of  New  York. 

It  is  by  her  pen-and-ink  draAnngs — a  series  of  pictures  of  old  New  York — 
that  she  is  perhaps  most  widely  knoAvn. 

In  1873  she  determined  to  take  up  etching  and  in  1878  settled  in  Paris 
and  made  etching  her  chief  study.  In  the  summer  of  1880  she  went  to  the 
valley  of  the  Chevreuse  (Seine  et  Oise)  and  at  Chevreuse  and  Cernay-la-Ville 
etched  directly  from  nature  her  "Pond  at  Cerney-le-Ville."  Her  "Old 
Dutch  church"  is  most  characteristic  and  attractive.  The  work  of  Mrs. 
Greatorex  is  delicate  rather  than  strong  in  its  inception  as  well  as  in  its 
execution.     (Koehler's  "American  etching.") 

She  etched  her  famous  plate  "The  old  Bloomingdale  tavern"  in  1869. 

Green,  Elizabeth  Shippen,  (Mrs.  Huger  Elliott)  (I.)  Studied  at  the 
Pennsylvania  Academy  of  the  Fine  Arts,  also  with  Howard  Pyle;  guided  and 
encouraged  in  her  childhood  by  her  father,  a  lover  of  art,  who  with  her  mother 
lived  also  at  the  "Red  Rose." 

Studied  six  years  abroad.  Began  by  illustrating  for  advertisements;  then 
entered  the  wider  field  of  drawing  pictures  for  children's  poems  and  stories. 

"Her  love  of  the  dainty  mysteries  of  elves  and  fays  has  free  expression." 
Her  work  appears  especially  in  Harper's. 

Groll,  Albert  Lorey,  (P.)  b.  New  York,  December  8,  1866.  ^lost  of  his 
student  years  were  spent  in  ]Munich  where  he  studied  at  the  Royal  Academy. 
Has  been  a  landscape  painter  since  1895.  A  member  of  the  National  Academy 
of  Design,  New  York,  1910. 

In  his  student  days  he  gave  much  attention  to  figure  painting  but  there 


90 

came  a  time  when  he  could  not  afford  models  for  figure  pieces;  this  forced 
him  to  find  his  models  in  the  trees  and  rivers,  hills  and  fields.  His  earlier 
pictures  are  studies  of  the  familiar  atmospheric  effects  of  dawn,  twiUght, 
moonlight,  mist,  sunrise  and  starlight  as  seen  at  Cape  Cod,  Sandy  Hook  and 
in  New  York  City. 

Mr.  Groll  accompanied  Prof.  Stuart  Culin  of  the  Brooklyn  Museum  of  Arts 
and  Sciences  on  an  exploration  trip  to  New  Mexico  and  Arizona  and  the 
sketches  that  he  made  of  the  Colorado  desert  furnished  material  for  his  now 
noted  "desert"  pictures.  His  "Arizona"  won  the  gold  medal  in  1906  at 
the  exhibition  of  the  Pennsylvania  Academy  of  the  Fine  Arts.  "It  is  only 
a  stretch  of  desert  and  sky  and  low'-lying  hills,  but  it  glows  like  a  gem  with 
the  indescribable  never-to-be-forgotten  color  of  the  Colorado  desert."  (Crafts- 
man 9:826)  "The  sandstorm"  is  another  remarkable  production;  "The 
rainbow"  still  more  daring.  In  "Clouds"  he  is  seen  at  his  best.  "Laka 
Louise  "  was  awarded  the  Inness  gold  medal. 

He  shows  the  desert  in  all  its  moods, — placid  and  savage,  bold  and  mellow. 

"Groll  is  the  musical  dreamer  in  colors."     (Int.  studio  27:lxvi.) 

Grover,  Oliver  Dennett,  (Mural  P.)  b.  Earlville,  111.,  January  29,  1861. 
Studied  in  Royal  Academy,  Munich;  with  Frank  Duveneck  in  Florence, 
with  Boulanger,  Lefebvre  and  Laurens  in  Paris.  Received  the  first  Yerkes 
prize,  Chicago,  1892,  for  his  painting,  "Thy  will  be  done." 

Gruppe,  Charles  Paul,  (P.)  b.  Pictou,  Canada,  September  3,  1860. 
Studied  in  Holland  but  is  chiefly  self-taught.  Received  gold  medal  at  Rouen 
gold  medal  of  American  Art  Society  in  1902;  two  gold  medals  in  Paris. 

Is  a  member  of  the  Pulchre  Studio,  The  Hague;  Arti,  Amsterdam;  American 
Water-color  Society,  New  Y^ork;  Art  Club  of  Philadelphia;  New*  Y'oik  Water- 
color  Club. 

Guerin,  Jules,  (P.,  L,  Mural  P.)  b.  St.  Louis,  Mo.,  November  18,  1866. 
Going  abroad  after  preliminary  studies,  he  entered  the  ateUers  of  Benjamin- 
Constant  and  Jean  Paul  liaurens  in  Paris.  Received  honorable  mention  at 
Paris  Exposition  1900;  also  honorable  mention  at  the  Pan-American  Ex- 
position, Buffalo,  1901,  and  silver  medal  at  St.  Louis  Exposition  1904. 

Mr.  Guerin  is  an  architectural  draughtsman,  a  successful  decorative  painter, 
and  a  well-known  illustrator.  In  recent  publications,  he  has  collaborated 
with  Robert  Hichens,  the  author,  using  many  of  his  subjects  from  Egypt 
and  Palestine. 

Among  his  interesling  paintings  are  series  of  French  chateaux,  Venetian 
scenes,  and  public  buildings  of  historic  interest  in  the  United  States. 

In  estimating  the  artistic  qualities  of  Mr.  Guerin,  the  International  Studio 
says:  "He  studies  a  building  with  the  trained  and  informed  intelligence, 
the  assured  restraint  of  an  architectural  draughtsman  of  the  better  sort  .... 


97 

....     He  is  careful  of  design  and  bold,  almost  arbitrary  in  color,  conven- 
tionalizing like  a  decorator." 

He  has  painted  six  enormous  topographical  landscapes  as  mural  decorations 
for  the  new  Pennsjdvania  R.  R.  station  in  New  York  City.  They  represent 
chiefly  the  country  traversed  by  that  railway  company. 

GuTHERz,  Carl,  (Mural  P.)  b.  Schoeftland,  Switzerland;  d.  Washington, 
D.  C,  February  7,  1907.  Came  to  this  country  with  his  parents  in  1851  and 
settled  in  Memphis,  Tenn.  He  became  a  mechanical  draughtsman.  In 
1868  he  went  to  Paris  and  studied  art  with  Cabason  and  Pils,  and  later  with 
Stallaert  and  Robert  in  Brussels  and  Antwerp;  finally  settled  in  Rome  in 
1871  where  he  studied  with  Simonetti.  There  he  executed  his  first  im- 
portant work  "The  awakening  of  spring,"  and  on  the  strength  of  this  painting, 
he  was  elected  in  1872  a  member  of  the  Cercle  Artistique  Internationale; 
after  spending  some  time  in  Munich  he  returned  to  the  United  States  in  1873 
and  became  associated  with  Prof.  Halsey  G.  Ives.  In  1880  Mr.  Gutherz 
married  an  accomplished  and  cult\n-ed  lady  of  a  distinguished  Alabama 
family  and  they  soon  after  remoVfed  to  Paris  where  they  lived  until  1896. 
While  in  Paris,  Lefebvre,  Boulanger,  Gabriel  Ferrier,  Jules  Breton,  Oliver 
Merson  and  Puvis  de  Chavannes  were  among  his  intimate  associates.  He 
exhibited  in  ever>'  salon  and  in  1876  he  received  a  medal  from  France  that 
rendered  his  works  hors  concours  in  the  salon.  His  work  assumed  "that 
dignity  and  proportion  of  color  symphonies,  significant  in  mystic  symbolism." 
Being  awarded  the  commission  for  decorating  the  ceiling  of  the  Representa- 
tives' reading  room  in  the  Library  of  Congress,  led  to  his  establishing  his 
home  in  Washington  where  he  was  for  many  years  connected  with  the  art 
department  of  the  Washington  University. 

His  mural  paintings  in  the  Library  of  Congress  are  seven  panels  representing 
"The  spectrum  of  light."  He  also  has  a  series  of  mural  paintings  in  the 
Peoples'  Church,  St.  Paul,  ^linn.,  the  theme  being  to  represent  allegorically 
life  in  both  the  physical  and  the  spiritual  worlds.  In  the  Courthouse  at  Fort 
WajTie,  Ind.,  he  has  a  series  of  six  splendid  decorative  panels. 

In  portraiture  Mr.  Gutherz  painted  many  distinguished  men.  Among 
his  ideal  works  are  the  beautiful  "Ad  angelis"  where  two  angels  are  bearing 
the  etherial  body  to  the  realm  of  light,  "The  golden  legend,"  "Ecce  homo," 
"Sappho"  and  "Midsummer  night's  dream." 

Lilian  Whiting  says:  "The  story  of  Carl  Gutherz  is  the  stoiy  of  an  ideal 
embraced  in  youth  and  followed  in  manhood  with  increasing  fidelity.  It 
is  the  story  of  a  painter  whose  entire  life  has  been  singularly  responsive  to 
the  artist's  vision  and  the  poet's  dream."     (Int.  studio  24:lxxxi.) 

Haggin,  Ben  Ali.   (P.).     Won  third  Hallgarten  prize  of  the  National 
Academy  of  Design,  1909.     His  technical  knowledge  was  acquired  by  study- 
ing the  work  of  the  masters. 
13 


"In  his  portrait  of  a  "Japanese  actress"  the  fabric  of  the  gown  and  the 
manipulation  of  Hght  is  almost  \^'histlerian,  without  being  in  the  least  like 

Whistler Another  thing  that  Haggin  has  in  common  with  Whistler 

is  the  handling  of  white.     Few  contemporary^  painters  get  the  same  quality 
in  the  lightness  of  the  heavier  white  fabrics." 

"In  his  "  Little  dancer  "  the  figure  stands  in  the  center  of  a  stage,  against 
a  golden  curtain  that  blends  into  the  shadows  of  the  dress — shadows  that  are 
golden,  transparent  and  luminous,  not  dull  gray  or  black.  His  blacks  have 
the  same  harmonizing  quality,  for  black  is  piled  on  black  in  a  most  bewilder- 
ing fashion." 

"He  gives  to  all  his  portraits  a  ''dramatic  efifect"  " Perhaps  the  portrait 
of  Mrs.  Wilfred  Buckland  will  be  reckoned  by  a  later  generation  of  critics 
as  one  of  the  most  essentially  brilliant  canvases  which  have  ever  emanated 
from  his  brush." 

"His  charming  portrait  of  Miss  Kitty  Gordon  is  now  famous.  Otis  Skinner 
as  Hajj,  the  beggar,  is  considered  to  be  technically  the  best  thing  he  has 
handled  of  late.  This  characterization  was  done  at  one  sitting.  (Arts  & 
D.  2:320.) 

"He  is  obsessed  with  a  sense  of  color It  is  in  the  painting 

of  the  nude,  however,  that  Haggin  has  found  his  most  complete  expression .... 
The  flesh  is  transparent,  blue  veined  and  coolly  shadowed." 

H.\LLOWELL,  George  H.,  (Min.  P.)  b.  Boston,  Mass.,  December  5,  1872. 
Pupil  of  Benson,  Tarbell  and  H.  B.  Warren  in  painting. 

At  the  tenth  annual  exhibition  of  the  Society  of  Miniature  Painters  Mr. 
Hallowell  showed  an  interesting  group. 

"His  paintings  are  representations  of  a  more  or  less  conventionalized 
nature,  and  he  pays  so  much  attention  to  the  surface  of  his  picture  that  he 
produces  an  effect  not  unlike  the  wonderful  glaze  of  the  porcelains  of  the  Royal 
potteries  at  Copenhagen.  His  design  is  always  beautiful  and  his  color  of  an 
unimpeachable  harmony,  though  purely  arbitrary." 

Harding,  Chester,  (P.)  b.  Conway,  Mass.,  September,  1772;  d.  in  1866. 
A  remarkable  personality.  He  was  noted  as  an  axeman — was  imprisoned 
for  debt — worked  as  a  house  painter — finally  became  a  famous  portrait 
painter. 

For  a  time  was  a  student  of  art  in  the  Academy-  in  Philadelphia.  Finally 
settled  in  Boston  where  he  achieved  great  popularity.  Went  to  England 
in  1823  where  he  became  popular.  Returning  to  the  United  States  he 
painted  most  of  the  political  leadei-s  of  his  time — Webster,  Clay,  Calhoun, 
Marshall  and  many  more.     (Bookm.  31:55.) 

Tuokerman  in  his  "Book  of  the  artists,"  says:  "In  1823  Harding  was  the 
fashion  in  Boston;  even  Stuart  was  neglected  and  used  to  ask  sarcastically 
"How  goes  the  Harding  fever?" 


9» 

His  portrait  of  Daniel  Webster  was  much  esteemed.  His  last  work  was 
a  portrait  of  General  Sherman. 

Harding,  George,  (I.,  P.)  b.  Philadelphia,  Pa.,  1882.  Studied  at  Penn- 
sylvania Academy  of  the  Fine  Arts  and  with  Howard  Pyle.  Member  of  the 
Philadelphia  Water  Color  Club  and  Society  of  Illustrators. 

Representative  pictures : 

"Coast  of  Cape  Race" 
"The  fisherwoman" 
"Busy  day  at  the  docks" 
"A  wreck  on  Florida  reefs" 

H.vRRisox,  (Lovell)  Birge,  (P.,  I.)  b.  Philadelphia,  Pa.,  October  28,  1854. 
Son  of  Apollos  Wolcott  and  Margaret  (Belden)  Harrison.  Known  most 
widely  as  a  paint«r  of  snow.  Received  an  academic  education.  Went  to 
Paris  in  1876;  entered  the  atelier  of  Carolus-Duran;  two  years  later  entered 
the  Ecole  des  Beaux  Arts  and  studied  under  Cabanel  for  four  years.  Going 
to  Pont-Aven,  Brittany,  he  painted  his  first  important  picture,  "November" 
which  was  exhibited  in  the  salon  of  1882  and  subsequently  purchased  by  the 
French  government.  Associate  member  National  Academy  of  Design,  1902; 
full  member,  1910. 

His  work  is  marked  by  a  love  of  evanescent  effects, — ^moonrise  over  a 
majestic  shadowy  landscape,  winter  twihght  after  snow,  the  harbor  ice  in 
moonUght. 

Important  works  are: 

"The  return  of  the  Mayflower"  "Moonrise  off  Santa  Barbara" 

" MoonUght  on  the  snow "  "Winter  sunrise  in  New  England" 

"  ]^Ioming  on  the  Eel  river  "  "  The  sentinel " 

"Moonlight  on  the  marshes"  "The  heights  of  LeAis" 

"The  Flatiron  after  rain"  "Woodstock  meadows  in  winter" 

"  Sunhght  and  mist "  "  Road  near  Santa  Barbara  " 

"The  lower  town,  Quebec"  "Madison  avenue  in  winter" 

"A  writer  on  his  art,  a  teacher  and  experimenter,  he  has  played  with  the 
whole  gamut  of  high  and  low  sunshine  on  snowj'  fields."  (Innes  "Schools 
of  painting,"  p.  375.) 

His  paintings  are  hors  concours  in  the  Paris  salon. 

Harrisox,  Thomas  Alexander,  (P.)  b.  Philadelphia,  Pa.,  Januarj-  17, 
1853.  Son  of  Apollos  Wolcott  and  ^fargaret  (Belden)  Harrison.  In  1879  he 
studied  at  the  Ecole  des  Beaux  Arts,  also  imder  Bastien-Lepage  and  G^rome, 
Paris.  The  same  year  he  joined  the  colony  of  artists  at  Pont-Aven,  Brittany, 
and  in  1880  he  sent  his  first  marine  entitled  "The  Brittany  coast"  to  the 


100 

Paris  salon.  His  first  popular  success  came  in  1882  when  he  sent  to  the  salon 
a  charming  picture  called  "Castles  in  Spain."  In  the  salon  of  1884  he  again 
obtained  great  success  with  a  marine  called  Cr^puscule"  (Twilight).  This 
he  followed  in  the  salon  of  1885  with  "The  wave"  for  which  he  received 
honorable  mention,  and  in  the  salon  of  1886  he  exhibited  "Arcadia"  which 
was  later  purchased  by  the  French  government  for  the  Luxembourg.  These 
four  mentioned  pictures  all  figured  in  the  Universal  Exhibition  of  1889  and 
represent  the  artist's  greatest  and  most  successful  efforts. 
Other  representative  paintings  are: 

"The  River  Loing — evening"  "Breton  garden" 

"Nymph"  " The  amateurs " 

"Lunar  mists"  "Marine" 

"Shipwrecked"  "Misty  morning" 

"  Harbor  of  Concarneau  "  * '  Golden  sands  " 
"Pebbly  beach" 

Although  demonstrating  his  ability  to  paint  in  many  directions  it  is  mainly 
by  reason  of  his  great  power  as  a  painter  of  the  sea  that  Mr.  Harrison's  repu- 
tation stands,  and  in  this  work  none  approaches  him  in  the  delineation  of 
light  and  movement  and  color  of  wave  forms  under  sky  effects  ....  "Very 
notable  is  the  hue  of  the  foam  and  curdle,  not  white  but  an  attenuated  tone 
of  the  same  blue  which  pervades  the  mass  of  water."     (Brush  &  P.  4:133.) 

"Of  all  American  paintisrs  of  the  sea,  Alexander  Harrison  is the 

most  scholarly."     (Cafiin.) 

"The  key  note  to  Mr.  Harrison's  art  is  truth  to  nature;  he  is  a  disciple  of 
the  plein  air  movement  and  of  the  evolution  which  was  determined  in  French 
art  by  Manet." 

He  has  a  studio  in  Paris  where  he  has  large  classes  of  students. 

His  paintings  have  obtained  for  him  medals  and  prizes  in  Paris,  Munich, 
London,  New  York  and  Philadelphia.  Is  a  member  of  popular  art  clubs 
in  Paris,  Munich,  London,  New  York  and  Philadelphia.  Was  elected  as- 
sociate member  of  the  National  Academy  of  Design,  in  1898;  full  member  in 
1901. 


y 


H.\ss.\M,  Childe,  (P.)  b.  Boston,  Mass.,  October  17,  1859.  Educated  in 
Boston  public  schools  and  studied  art  in  Boston  and  Paris,  1886-9.  Is  the 
best  known  follower  of  Monet  in  this  country — our  foremost  impressionist 
since  the  death  of  Theodore  Robinson. 

Has  been  singularly  successful  in  competition,  winning  medals  in  Paris, 
Munich,  Chicago,  Philadelphia,  Pittsburgh,  Buffalo  and  St.  Louis,  and 
awarded  prizes  by  many  American  art  clubs  and  societies.  He  is  a  member 
of  the  Ten  American  Painters,  Soci6t^  Nationale  des  Beaux  Arts,  Paris, 
The  Secessionists,  Munich,  and  National    Academy  of  Design,  New  York. 

"Subjects"  he  says,  "suggest  to  me  a  color  scheme,  and  I  just  paint; 


101  ;    ;;.    . 

some  one  else  might  see  a  riot  of  color  where  I  see  only  whites  and  drabs 
and  buffs." 

"June"  is  one  of  his  prize  paintings.     Other  well-known  works  are: 

"Isles  of  Shoals  series"  "The  green,  New  Haven" 

"  Paris— winter  "  "  Winter  nightfall " 

"  Inner  harbor — Gloucester  "  "  Plaza  Cent  rale — Havana  " 
"Rue  Lafayette  on  a  winter  even-    "Gat  boats — Newport" 

ing"  "TheabilonesheU" 

"  The  Chinese  merchants  "  "  Summer  sea  " 

"North  shore,  moonlight"  "Penelope" 

"October  haze,  Manhattan"  "Lorelei"  (prize  painting) 

"A  bowl  of  nasturtiums"  "A  New  York  window" 

"Improvisation"  is  a  reverie  in  color  based  upon  wistful  expectancy. 
Its  technique  is  mature  and  the  sentiment  unusually  attractive  and  sincere. 

"He  is  primarily  a  gi-eat  painter  of  air  and  soil,  sea  and  sky.  He  feels 
the  repose  and  beauty,  the  strength  and  immensity  of  nature  in  the  simplest 
scenes.  He  has  a  definite  aim,  and  every  picture  brings  him  nearer  the  goal." 
(Int.  studio  29:267.) 

"When  Coquelin,  the  French  actor,  was  in  America,  he  bought  two  of 
Hassam's  impressionistic  canvases  to  take  back  %nth  him  to  France,  declaring 
at  the  time  of  purchase  that  the  artist  was  the  most  able  impressionist  painter. 
The  compliment  was  not  ill-advisedly  spoken  and  Hassam  will  easily  main- 
tain the  rank  assigned  him."     (Frederick  W.  Morton.) 

Kenyon  Cox  says:  "With  Mr.  Hassam  the  subject  matters  nothing. 
Whether  he  paints  the  sea  or  the  land,  the  cool  nudity  of  white  nymphs 
among  rose-tinted  laurel-blossoms  or  the  canyons  of  lower  New  York,  his 
art  is  of  the  same  quality;  and  it  is  the  freshness  and  vigor  of  his  observa- 
tion, the  solidity  of  his  design,  his  sparkling  hght  and  color  and  the  deft 
embroidery  of  his  touch  that  inevitably  attract  and  deUght  us." 

Mr.  Hassam  is  a  designer  with  a  sense  of  balance  and  of  classic  grace  al- 
most equal  to  that  of  Co  rot,  and  he  uses  the  impressionist  method  to  express 
otherwise  the  shimmer  of  delicate  foUage  that  Corot  loved." 

Hawthorne,  Charles  Webster,  (P.)  b.  Maine,  1872.  Student  of  National 
Academy  of  Design  and  Art  Students'  League,  New^  York.  Teacher  in  New 
York  schools  of  art;  owner  and  instructor  of  Cape  Cod  School  of  Art,  Province- 
town,  Mass.     Associate  member  National  Academy,  1908. 

First  painted  still  life,  then  figures;  after  a  trip  to  Italy  painted  landscapes; 
also  paints  portraits. 

Hartmann  says  (Int.  studio  26:261):  "He  is  essentially  a  figure  painter, 
a  painter  of  "types"  surrounded  by  a  jumble  of  still  life.  The  fishing  folk 
of  Cape  Cod  are  his  specialty In  his  men  with  oar  and  fishing  tackle 


102 

and  his  Portuguese  fisher  boys,  we  feel  a  whiff  of  the  ocean  and  their  environ- 
ment is  actually  dripping  with  brine Hawthorne's  art  has  not  yet 

that  expression  of  joy  in  expansive  life  which  clings  to  Winslow  Homer's 
figures,  nor  has  it  that  anatomical  grasp  in  character  which  is  Eakin's  strength. 
But  it  is  just  as  vital,  natural  and  wholesome." 

Arthur  Hoeber  writes  (Int.  studio  37:sup.  Ixv):  "The  return"  has  a  senti- 
ment rarely  secured  by  modern  men.  The  expression  of  the  young  lad  is 
splendidly  caught  and  is  full  of  youth,  hope  and  courage,  while  as  craftsman- 
ship it  is  unsurpassed.  "The  auctioneer"  is  a  type  of  the  Provincetown 
fisherman  that  is  to  the  life,  while  the  painting  is  a  veritable  tour  de  force. 
One  cannot  mistake  here  the  man's  call  to  the  arts,  for  the  painter  is  obvious 

in  eveiy  brush  stroke The  little  Venetian  "Lemon  girl"  is  a  gem 

in  its  way." 

"The  trousseau,"  now  owned  by  the  Metropolitan  museum,  was  awarded 
the  Clarke  prize  in  1911  on  the  first  ballot  without  a  dissenting  voice — an 
unprecedented  honor  in  the  history  of  the    National  Academy  of  Design. 

Other  representative  pictures  are: 

"  Fisher  boy  "  "  The  boatman  " 

"Fisher  children"  "Home  with  the  catch" 

" Portuguese  fisher  boys "  "The  auctioneer" 

"The  fisherman's  daughter"  "The  doyen  of  the  fish  market" 

"Youth" 

Healy,  Geoijge  Petfr  Alexander,  (P.)  b.  Boston,  Mass.,  July  15,  1813; 
d.  Chicago,  111.,  June  24,  1894.  At  the  age  of  sixteen  he  began  to  copy 
prints  and  make  likenesses  of  all  who  would  sit  for  him.  His  first  success 
was  a  copy  on  canvas  of  Guido  Reni's  "Ecce  homo"  which  a  Catholic  priest 
purchased  for  $10  and  placed  in  his  church.  He  studied  in  Paris  in  1836; 
went  to  Chicago  in  1858;  revisited  Europe  in  1869  and  resided  long  in  Rome. 
While  in  Rome  painted  portraits  of  Longfellow,  Pope  Pius  IX,  Princess 
Oldenberg  and  othei*  distinguished  persons.  He  also  painted  the  portraits 
of  Ijouis  Philippe,  Guizot,  Thier,  Gambetta,  Webster,  Clay,  Lincoln  and 
Grant,  and  many  hundred  more  distinguished  persons.  The  number  of 
portraits  that  he  painted  was  enormous. 

At  his  best,  his  heads  are  strong,  dignified  and  characteristic. 

He  also  produced  large  historic  pictures,  his  "Franklin  before  Louis  XVI," 
w^on  the  third-class  medal  at  the  Paris  salon  in  1840  and  his  "Webster's 
reply  to  HajTie  "  now  hangs  in  P^aneuil  Hall,  Boston. 

Heinigke,  Otto,  b.  Brooklyn,  New  York,  1851.  A  mural  painter,  but 
makes  a  specialty  of  stained  glass.     Also  a  writer. 

Henri,  Robert,  (P.)  b.  Cincinnati,  O.,  1865.  Received  his  education  in 
the  wastern  cities  and  in  New  York.     Studied  art  in  the  Pennsylvania  Acad- 


103 

emy  of  the  Fine  Arts,  also  studied  without  instructions  for  yeai"S  in  France, 
Spain  and  Italy.  Has  exhibited  at  Paris  salons  and  won  several  prizes  at 
competitive  exhibitions  in  the  United  States.  ^leniber  of  the  National 
Academy  of  Design,  Xew  York,  since  1906. 

"The  snow"  was  purchased  in  1899  by  the  French  government  for  the 
Luxembourg.  "Girl  in  w'hite  waist"  was  purchased  by  the  Carnegie  In- 
stitute, Pittsburgh,  for  the  permanent  collection. 

Other  pictures  are: 

"Girl  with  red  hair"  "Little  giri  holding  her  hat" 

"Happy  Hollander" 

Isham  says:     "Mr.  Robert  Henri  is  the  most  characteristic  of  the  younger 

group  of  painters his  best  works  are  from  carefully  chosen  models 

His  girls  are  modern,  complex  and  rather  mysterious.  His  work- 
manship is  broad  and  sure,  insistently  masterly,  vnXh.  great  richness  of  surface 
and  harmony  of  tone  in  the  simple  scheme  of  black  and  wliite  and  flesh  color." 

Hartmann  says  of  Henri:  "A  street  scene  painter  whose  aim  is  rather 
to  seize  the  mystery,  the  passion,  the  despair  as  well  as  the  gaiety  of  a  modem 
metropolis,  than  to  describe  its  merely  topographical  features." 

"Woman  w-ith  cloak"  is  much  admired  by  the  artistic  few;  its  soft  and 
harmonious  background  suggests  Whistler.     (Brush  &  P.  4:200.) 

HiGGiNS,  Eugene,  (P.)  b.  Kansas  City,  Mo.,  February-,  1874.  Attended 
the  art  school  in  St.  Louis,  ^lo.,  and  later  studied  in  Paris  under  Laurens, 
Benjamin-Constant,  Gerome  and  at  the  Ecole  des  Beaux  Arts. 

Poverty  is  ^Ir.  Higgins'  art  inspiration  and  he  is  called  the  Maxim  Gorky 
of  painting. 

His  mother  died  when  he  was  four  years  of  age  and  he  thenceforth  lived 
in  cheap  boarding  houses  with  his  father  who  was  a  stone-cutter  by  trade. 
Here  "he  came  in  close  contact  with  types  of  dissolute  and  luckless  humanity, 
such  as  he  now  loves  to  paint." 

When  a  lad  of  twelve,  an  article  on  Millet  gave  him  his  first  impulse  to  be 
a  painter.     ^lillet  and  Victor  Hugo  have  largely  moulded  his  entire  hfe. 

During  his  sojourn  in  Paris  his  paintings  were  shown  in  the  exhibitions 
of  the  American  Art  Association  and  a  few  of  his  works  were  well  himg  in 
the  New  Salon.     He  returned  to  the  United  States  in  1904. 

John  Spargo,  in  the  Craftsman  12:141,  says:  "The  question  has  been 
raised  w^hether  such  subjects  as  Mr.  Higgins  chooses  are  suited  to  the  medium 
of  canvas  and  paint  or  whether  they  do  not  belong  rather  to  literature." 

He  portrays  the  pathetic,  the  helpless,  the  ruined,  the  despised  and  the 
rejected  of  humanity. 

Hills,  Laur.\  Coombs,  (Min.  P.)  b.  Newburyport,  ^Mass.,  September  7, 


104 

1859.     Pupil  of  Helen  M.  Knowlton,  Art  Students'  League  of  New  York  and 
Cowles  Art  School  in  Boston. 

Received  medal  at  Paris  Exposition,  1900;  second  Corcoran  prize,  1901; 
silver  medal  Pan-American  Exposition,  Buffalo,  1901;  associate  member 
National  Academy,  1908;  vice  president  American  Society  of  Miniature 
Painters  and  the  first  miniature  painter  to  be  elected  to  the  Society  of  Ameri- 
can Artists.  Although  never  taught  miniature  painting,  Miss  Hills  is  recog- 
nized as  a  most  skilful  miniature  painter  and  has  gained  honors  both  at  home 
and  abroad  in  this  particular  form  of  art. 

Her  first  exhibit  was  "Seven  pretty  girls  of  Newburyport."  "The  bride" 
a  harmony  in  gray,  gold  and  blue,  was  one  of  the  most  evanescently  delicate 
pieces  at  a  recent  exhibition.  "The  black  mantle,"  "  Fire  opal,"  " Butterfly  " 
and  "Goldfish"  represent  the  most  modern  development  of  all,  the  essentially 
pictorial  miniature.  In  these  fanciful  subjects  she  takes  a  place  among  color- 
ists  of  the  first  rank.  Her  miniature  of  Alice  Brown  is  full  of  insight  and 
penetration;  the  portrait  of  Mr.  Arthur  Harlow  has  all  the  breadth  and 
dignity  of  a  large  portrait  with  the  charm  peculiar  to  the  miniature;  the 
charming  little  head  of  Dorothy  S.  is  frank  and  altogether  lovely;  the  por- 
trait of  little  Miss  Hale  is  as  wholly  delightful  a  child  portrait  as  one  could 
ask.     (Int.  studio  41:xlvi.) 

Frances  Duncan  in  writing  of  Miss  Hills'  work  said:  "Her  portraits 
are  not  large  portraits  done  small,  but  essentially  miniature;  they  have 
that  exquisite  jewel-like  quality  peculiar  to  the  miniature  in  the  hands 
of  the  few  masters  of  this  exquisite  and  lovely  art,  the  quality  which  will 
make  miniature  painting  a  thing  apart." 

"She  understands  the  emotion  of  color  and  by  a  graceful  dexterity  masters 
its  adaptation  to  its  subject."     (Critic  47:523.) 

"Her  portraits  are  always  big  in  conception  and  she  apjjears  to  be  little 
hampered  by  the  tiny  brushes  and  the  elusive  quality  of  the  ivory." 

The  portrait  of  blaster  Donald  Moffat  was  the  chef  d'oeuvre  at  a  recent 
exhibition  of  the  Miniature  Society. 

Alice  T.  Searle  says:  "Miss  Hills  is  never  dull  but  in  the  center  one  of 
her  group  of  three  large  ovals  [at  a  recent  exhibition],  the  portrait  of  Miss 
Isobel  da  Costa  Green,  she  outshone  her  own  brilliant  past." 

Hitchcock,  Georgk,  (P.,  I.)  b.  Providence,  R.  I.,  September  29,  1850. 
Graduated  from  Brown  l^niversity  in  1872  and  from  Harvard  Law  School 
in  1874;  admitted  to  the  bar  both  in  Providence  and  in  New  York,  he  re- 
mained in  the  law  until  twenty-nine  when  he  definitely  gave  over  jurispru- 
dence for  the  palette.  Was  a  pupil  of  Lefebvrc  and  Boulangor  in  Paris  and 
of  H.  VV.  Mesdag  at  The  Hague.  An  academic  painter  in  Paris  and  a  marine 
painter  under  Mcsdag.  he  did  not  really  discover  himself  until  lie  found  the 
tulip  fields  of  Egmond  near  Amsterdam.     The  Egmond  school  is  the  result 


105 

of  his  paintings.  While  he  resided  there  seventeen  studios  sprang  up  and 
three  hundred  pupils  came  to  him. 

3Ir.  Hitchcock's  "Tulip  culture''  was  the  foundation  of  his  reputation  in 
the  Paris  salon  of  1887. 

"Few  artists  before  him  have  been  impressed  as  he  was  by  the  Haarlem 
tuUp  be<ls  and  the  great  briUiant  tapestries  formed  by  the  variegated  hya- 
cinths of  the  Low  Countries." 

Mr.  Hitchcock  prefers  Holland  in  one  mood.  "Holland  flooded  in  sim- 
light  and  covered  with  a  multi-coloi-ed  floral  carpet  is  the  Holland  Mr.  Hitch- 
cock puts  on  canvas."  "A  figure  painter  quite  as  unmistakeably  as  a  land- 
scape painter,  he  combines  both  elements  on  even  terms."     (Cent.,  48:318.) 

Among  the  most  engaging  of  his  Dutch  compositions  are: 

"  The  mob  cap  "  "  In  Brabant " 

"  Hyacinths  "  "  Holland  morning  " 

"  Maternity  "  "  Sun-flecked  " 

"The  epitome  of  Holland"  "Simday  in  Zeeland" 
"  Flower  girl  in  Holland  " 

^Ir.  Hitchcock's  art  is  not  limited  to  Dutch  subjects.  He  has  painted  a 
number  of  pictures  dealing  with  religious  and  mythical  subjects.  Among 
these  may  be  mentioned : 

' '  Annunciation  "  ' '  Vanquished  " 

' '  Flight  into  Egj-pt "  "  Ariadne  " 

"  Mar\'  at  the  house  of  Elizabeth  "  "  Sappho  " 

"  Saint  George  "  ' '  Cah-pso  " 
"  Hagar  and  Ishmael " 

Mr.  Hitchcock  has  received  honorable  mention,  gold  medals  and  other 
coveted  prizes.  He  is  a  member  of  the  Munich  Secessionists,  Paris  Society 
of  American  Painters,  the  Vienna  Academy  and  an  officer  in  the  Order  of 
Franz  Josef;  also  an  associate  member  of  the  National  Academy  of  Design, 
New  York,  1909. 

Hitchcock,  Lucius  Wolcott,  (L)  b.  West  Williamsfield,  O.,  December 
2,  1868.  Pupil  of  Art  Students'  League  of  New  York,  Lefebvre,  Benjamin- 
Constant.  Laurens  and  Colarossi  Academy,  Paris.  Received  honorable 
mention  at  Pan-American  Exposition.  Buffalo,  1901;  silver  medal  for  Il- 
lustration and  bronze  for  painting  at  the  St.  Louis  Exposition,  1904.  Also 
a  teacher. 

Homer,  Wixslow,  (P.)  b.  Boston,  Mass.,  February  24,  1836;  d.  Scar- 
borough, Maine,  September  29,  1910.  At  the  age  of  nineteen  he  entered 
the  employ  of  a  Uthographer  in  Boston.     In  1859  he  settled  in  New  York, 


106 

studying  in  the  school  of  the  National  Academy  of  Design  and  under  F. 
Rondel.  He  was  elected  associate  member  of  the  academy  in  1864;  aca- 
demician in  1865. 

During  the  civil  war  he  was  special  correspondent  and  artist  for  Harper, 
and  his  first  works  in  oil  which  brought  him  prominently  before  the  public 
as  an  artist  were  "Prisoners  from  the  front,"  "Home,  sweet  home,"  "Zouaves 
pitching  quoits."  Then  came  studies  of  negro  life  and  character,  his  "Visit 
from  the  old  mistress"  being  one  of  the  best  pictures  of  negro  life.  Later 
he  painted  the  landscape  of  the  Adirondacks,  then  the  seafaring  people  of 
the  New  England  coast  whose  life  he  has  interpreted  with  remarkable  poetry 
and  understanding.  But  it  is  in  his  delineation  of  the  ocean,  however,  that 
Homer's  genius  reached  its  greatest  heights. 

"It  is  not  the  charm  of  the  ocean  that  he  paints.  The  mood  in  which 
he  excels  is  morose, — it  is  threatening,  lowering,  savage." 

"He  is  unquestionably  the  most  strictly  national  painter  America  has 
produced,  and  for  that  reason  he  is  one  of  the  greatest,  if  not  the  greatest. 
His  sea  is  the  watery  waste,  an  expression  of  tremendous  force,  mystery, 
peril;  his  landscapes  are  redolent  of  the  primeval  forests  of  the  new  world, 
its  bleak  hills,  its  crags,  his  men  and  women  are  pioneers,  fishermen,  sea- 
faring folk."     (Brush  &  P.  10:40.) 

"Cannon  rock"  is  one  of  his  greatest  works;  "Gulf  stream"  and  "Under- 
tow" are  strongly  dramatic. 

He  has  made  delightful  records — joyous  and  brilliant  notes — of  his  trips 
to  the  Bermudas  and  Bahamas  in  a  group  of  water  colors. 

Among  his  marine  masterpieces  are : 

"A  light  on  the  sea"  "On  a  leeshore" 

"  The  breaker  "  "  The  lookout— All's  well " 

" The  wreck "  "A  summer  night " 

"  Watching  the  breakers — a  high      "The  fog  warning" 

sea  "  "  Kissing  the  moon  " 

"The  life  line"  "A  summer  squall" 

"Sunlight  on  the  coast"  "High  cliff,  coast  of  Maine" 

Walter  Pach,  the  writer,  considers  Winslow  Homer  the  greatest  American 
artist.  "Homer's  renunciation  of  the  joys  of  color  marks  him  as  the  stern 
puritan  of  the  north,"  he  says;  and  later  he  compares  him  to  Milton.  "Re- 
nouncing color,  his  genius  sought  consolation  in  the  impressive  organization 
of  grand  forms,  in  respect  for  the  individuaUty  of  the  sea,  the  sky  and  the 
earth  in  the  almost  Tanagra-like  grace  of  human  figures." 

"Winslow  Homer  is  an  absolutely  original  and  national  artist;  he  is  the 
first  exponent  of  pictorial  art  in  the  new  world.  He  presents  the  unique 
phenomenon  of  an  American  painter  whose  work  has  in  it  not  the  least 
scintilla  or  hint  of  Europe  or  of  Asia."     (Brush  &  P.,  10:^0.) 


107 

HoPKix,  Robert,  (P.)  b.  Glasgow,  Scotland,  January  3,  1832;  d.  Detroit, 
Michigan,  March  21,  1909.  Went  to  Detroit,  Michigan,  with  his  parents 
when  eleven  years  of  age  and  lived  there  practically  all  his  life. 

^Ir.  Hopkin  as  a  boy  grew  up  on  Detroit  wharves ;  received  his  apprentice- 
ship in  mixing  colors  for  decorators  and  made  his  living  as  a  scenic  artist. 
For  many  years  he  was  the  leader  and  patriarch  of  Detroit  artists.  At  one 
time  was  president  of  the  Detroit  Association  of  Arts;  also  a  member  of  the 
Society  of  Western  Artists  and  of  the  Detroit  Water  Color  Society.  His 
most  important  work  is  a  series  of  six  paintings  for  the  Cotton  Exchange, 
New  Orleans,  La.  He  also  painted  many  drop  curtains  for  Chicago,  Denver, 
Toronto  and  other  cities. 

C.  Lewis  Hind,  the  English  art  critic,  when  in  Detroit  saw  Hopkin's  works 
for  the  first  time  and  said  of  them:  "No  critic  could  deny  to  them  a  place 
among  the  very  first  pictures.  They  are  wonderful,  enchanting,  powerful, 
great." 

Director  Griffith  of  the  Museum  of  Art,  Detroit,  said:  "I  believe  his 
modest}',  charming  as  it  was,  was  a  great  injustice  to  himself  and  to  the 
world ^lodesty  robbed  him  of  fame  due  a  master  hand." 

His  landscapes,  figures  and  interiors  are  just  as  suggestive  of  his  poetic 
power  of  expression  as  are  his  marines.     (Detroit  Free  Press,  March  22,  1909.) 

HoRXBY,  Lester  G.,  (E.).  Began  to  etch  in  this  countiy  and  produced 
many  plates  descriptive  of  New  England  before  he  went  to  Paris  in  1906. 
He  has  traveled  much  in  foreign  lands  and  has  been  a  regular  exhibitor  at 
the  Salon  des  Artistes  Francais,  and  at  many  of  the  leading  art  exhibits 
held  throughout  Europe. 

Among  his  most  attractive  plates  are  those  made  in  Tunis  during  the 
winter  of  1908. 

"Stor>' teller"  ,    " Passage  Arabs " 

''Vegetable  dealers"  " Marabout  tombs " 

"The  musicians" 

His  French  plates  are  enthusiastically  regarded  by  those  who  love  Paris: 

"Pont  Neuf  (rainy  day)"  "The    old    court    in    Rue    Vercinge- 

"  Buildings  of  the  Quai "  torix  " 

"L'Hiver  au  Jardin  du  Luxem-        "St.  Nicholas  des  Champs" 

bourg  "  "  Little  balconies  " 

"Cour  des  Reines"  "Boulevard  de  Montpamasse" 

"  La  lettre  d' Amour  " 

Light  heartedness  of  the  Paris  of  the  Boulevards,  melancholy  beauties 
of  the  Old  Quarter,  and  the  mystery  w^hich  pervades  the  life  of  the  far  East 


108 

are  interpreted  with  equal  facility.     The  "Lady  aux  Ambassadeurs,"  the 
"Model,"  "A  la  gaite,  Montparnasse "  give  evidence  of  wide  versatility. 

It  is  in  comprehensive  outlook  that  much  of  the  strength  of  Mr.  Hornby's 
plates  lie;  this  keen  interest  of  the  life  of  the  people  combined  with  forceful 
powers  of  expression  are  the  qualities  that  combine  to  make  the  great  etcher. 

HoRTON,  ^YlLLIAM  Samuel,  (P.)  b.  Grand  Rapids,  Michigan,  November 
16,  1865.  Pupil  of  Art  Students'  League  and  National  Academy  of  Design 
in  New  York;  Laurens  and  Julien  Academy  in  Paris.  Received  gold  medal 
at  the  International  Exposition  at  Nantes,  1904,  and  medal,  second-class, 
at  Orleans,  France,  1905.  Member  of  the  New  York  Water  Color  Club; 
Cercle  Volney  and  Salon  d'Automne,  Paris.     Also  a  writer. 

HosMER,  Harriet,  (S.)  b.  Watertown,  Mass.,  October  6,  1830;  d.  Water- 
town,  Mass.,  February  21,  1908.  Received  her  education  in  Lenox,  Mass. 
Displayed  a  taste  for  art  at  an  early  age  and  studied  drawing  and  modeling 
in  Boston.  In  1852  with  her  father  and  Charlotte  Cushman  she  took  passage 
for  Italy.  In  Rome  she  became  the  pupil  of  the  English  sculptor  Gibson 
with  whom  she  remained  seven  years. 

Her  first  works  were  ideal  heads — "Daphne"  and  "Medusa."  They 
were  exhibited  in  Boston  in  1853  and  highly  praised  by  critics  and  con- 
noisseurs. Her  "Beatrice  Cenci"  has  much  grace  and  its  beauty  is  of  a 
very  intelligible  kind;  it  is  now  in  the  Public  Library  of  St.  Louis.  "Puck" 
was  so  popular  that  thirty  copies  of  the  original  were  made.  The  Prince  of 
Wales  and  the  Duke  of  Hamilton  each  ordered  a  copy.  Its  companion 
piece,  "Will-o'-the-wisp"  is  pretty  and  fanciful. 

Nathaniel  Hawthorne  speaks  of  Miss  Hosmer's  "Zenobia"  as  "a  very 
noble  and  remarkable  statue  indeed,  full  of  dignity  and  beauty." 

Jarves,  in  his  "Art  idea,"  says:  "She  (Miss  Hosmer)  has  no  creative 
power,  but  has  acquired  no  small  degree  of  executive  skill  and  force.  " 

Hartmann  says:  "Miss  Hosmer  owed  her  success  largely  to  her  sex  for 
until  this  century  it  had  been  exceedingly  rare  to  see  a  woman  modeling 
clay  and  chiseling  marble." 

Miss  Hosmer  made  a  number  of  discoveries  and  inventions,  including  a 
process  of  giving  Italian  limestone  the  hardness  of  marble. 

HovE.NDEN,  Thomas,  (P.)  b.  Dunmanway,  Ireland,  December  28,  1840; 
was  killed  on  August  14,  1895,  in  an  unsuccessful  effort  to  save  an  unknown 
child  from  being  killed  by  a  railway  train.  He  studied  in  the  Cork  School 
of  Design,  ('ame  to  the  United  States  in  1863  but  it  was  not  until  1872 
that  he  began  to  follow  art  as  a  profession.  In  1874  he  went  to  Paris  and 
entered  the  studio  of  Cabanel  where  he  remained  until  1880  when  he  re- 
turned to  the  United  States.  He  was  elected  associate  member  of  the  Na- 
tional Academy  of  Design,  New  York,  in  1881 ;  academician,  1882. 


109 

His  first  notable  painting  was  a  "Breton  interior  of  1793."  "Breaking 
home  ties"  was  one  of  the  most  popular  paintings  at  the  Columbian  Ex- 
position, 1893.  "Last  moments  of  John  Brown"  which  hangs  in  the  Metro- 
politan Museum  of  Art,  New  York,  is  an  especially  characteristic  canvas. 
Critics  concur  in  esteeming  "Elaine"  as  his  masterpiece.  "As  a  powerful 
allegorical  picture  it  stands  unrivaled  among  the  productions  of  American 
genius." 

Popular  paintings  are: 

"  Jerusalem  the  golden  "  "  Thinking  of  somebody  " 

"  The  two  lilies  "  "  News  from  the  conscript " 

"A  Brittany  woman  spinning"  "Pride  of  the  old  folks" 

" Pleasant  news "  "Peasant  soldiers  of  La  Vendee" 

"The  image  seller" 

His  is  the  storj^-telling  picture  and  the  story  is  told  clearly  and  beautifully. 

Howe,  William  Henry,  (P.)  b.  Ravenna,  O.,  1846.  Pupil  of  Otto  de 
Thoren  and  F.  de  Vuillefroy  in  Paris.  Received  honorable  mention,  New 
Orleans,  1885;  honorable  mention,  Paris  salon,  1886;  third-class  medal.  Paris 
salon,  1888;  silver  medal,  Paris  Exposition,  1889;  Temple  gold  medal  Penn- 
sylvania Academy  of  the  Fine  Arts,  1890;  grand  medal.  Crystal  Palace, 
London,  1890;  officier  d'Academie,  Paris,  1896;  chevalier  Legion  of  Honor, 
1899;  member  of  National  Academy  of  Design,  New  York,  1897. 

Mr.  Howe  has  won  fame  as  the  painter  of  landscapes  with  cattle.  His 
earlier  work  shows  strongly  the  influence  of  such  masters  as  Van  Marcke 
and  Trj'on.  His  later  work  is  of  rare  quality  and  possesses  a  distinct  per- 
sonal style. 

Among  his  best  known  paintings  are: 

"The  truants "  " Korten  Hof  meadows " 

"  In  the  orchard  "  "  Cattle  at  rest " 

"  Morning  "  "  Returning  from  the  heath  " 

HuBBELL,  Henry  Salem,  (P.)  b.  in  the  United  States.  Pupil  of  Art 
Institute  Chicago,  Whistler.  Collin,  Laurens  and  Benjamin-Constant  in  Paris. 
Received  honorable  mention  in  the  Paris  salon,  1901.  Is  a  member  of  the 
Paris  American  Artists  Association  and  Paris  Society  of  American  Painters. 
Was  elected  associate  member  of  the  National  Academy,  1905. 

His  original  training  was  in  illustration,  and  it  was  not  until  1900,  two 
years  after  his  arrival  in  Paris,  that  he  "entered  upon  the  study  of  painting 
proper"  and  then  visited  Spain.  In  the  salon  of  1909  he  was  represented 
by  two  canvases — "Caprice"  and  "Autumn  leaves."  "Each  of  these  com- 
positions presents  a  decorative  pattern  of  forms  and  spaces  and  a  color  scheme 
that  is  choice  and  reserved."     (Harp.  118:289.) 


110 

Of  an  exhibition  of  eleven  canvases  by  this  artist  at  the  Art  Institute, 
Chicago,  Art  and  Progress  (2:47)  writes:  "With  the  exception  of  an  ex- 
quisitely painted  interior  and  a  study — "The  black  fan,"  all  are  portraits. 
His  prize  picture,  "The  departure,"  a  life-size  portrait  of  a  lady  in  a  long 
green  cloak  and  a  large  hat  enveloped  with  a  veil,  is  a  harmony  in  green  with 
a  setting  of  browns.  Mr.  Hubbell  paints  with  virile  and  robust  temper; 
and  in  the  portrait  of  Miss  B,  a  beautiful  young  woman  in  pink  evening  gown, 
in  "Serena,"  a  j'oung  girl  in  gray  in  a  shaded  room,  in  "Sylvia,"  another 
young  girl,  in  "Winthrop,"  a  boy,  and  the  extraordinary  Ukeness  of  "Aunt 
Lizzie  Aiken,"  there  is  a  strength  and  truth  as  well  as  joyousness  of  inter- 
pretation, which  command  attention." 

Humphreys,  Marie  Champney,  (Min.  P.)  b.  Deerfield,  Mass.,  1867;  d. 
New  Rochelle,  N.  Y.,  December  1,  1906.  Was  married  November  22,  1899, 
to  John  Sanford  Humphreys. 

Was  a  miniature  painter.     Exhibited  in  Europe  and  America. 

^  Hunt,  William  Morris,  (P.,  Mural  P.)  b.  Brattleboro,  Vt.,  March  31, 
1824;  d.  Appledore,  Isles  of  Shoals,  N.  H.,  September  8,  1879.  He  began 
his  art  studies  in  the  Royal  Academy,  London,  and  later  went  to  Diisseldorf. 
Originally  he  intended  to  become  a  sculptor  but  abandoned  this  design  and 
studied  under  Couture  in  Paris.  While  in  Paris  he  was  brought  into  intimate 
relations  with  Diaz,  and  at  Barbizon  was  associated  with  Millet.  In  1855 
he  returned  to  the  United  States  and  settled  in  Boston. 

The  present  admiration  in  this  country  for  modern  French  art  can  be 
directly  traced  to  his  advocacy.  In  his  art  he  Uked  better  to  suggest  form 
than  to  portray  it  with  strong  outlines. 

He  painted  many  portraits  of  noted  people  and  also  made  many  original 
sketches  of  types  of  Parisian  life;  among  them,  "The  street  musician,"  "Girl 
at  the  fountain,"  "Child  selling  violets." 

Among  his  more  important  works  are: 

"The  drummer  boy"  "Bugle  call" 

"  Boy  chasing  a  butterfly  "  "  The  Marguerites  " 

"  The  morning  star  "  "  The  belated  kid  " 

"  Girl  reading  "  "  Girl  with  cap  " 

Of  Mr.  Hunt's  "Bathers"  a  well-known  connoisseur  has  said:  "It  is 
one  of  the  three  or  four  paintings  of  the  nude  in  the  nineteenth  century  which 
a  Greek  would  have  understood  and  admired." 

In  1878  his  mural  paintings  were  put  up  in  the  Senate  Chamber  in  the 
Albany  state  house,  and  in  this  work — "Flight  of  night"  and  "The  dis- 
coverer," he  had  a  true  conception  of  mural  painting. 

Liibke  says:     "He  was  the  first  American  to  give  to  the  world  large  mural 


Ill 

paintings  of  artistic  importance Many  of  his  smaller  pictures  have 

great  charm,  and  he  is  always  a  forceful  technician." 

Hunt's  place  in  art  can  never  be  overestimated  for  his  power  of  person- 
aUty  made  him  exert  tremendous  influence  on  the  students  that  flocked 
around  him. 

HuTCHENS,  Frank  Townsend,  (P.)  b.  Canandaigua,  X.  Y.,  June  7,  1869. 
Pupil  of  the  Art  Students'  Institute  of  New  York  under  Wiles,  Dumond  and 
Mowbray;  JuUen  Academy  under  Benjamin-Ck)nstaQt  and  Laurens  and 
Colarossi  Academy  in  Paris. 

"Hutchens  is  a  painter  of  moods.  A  pecuhar  atmospheric  condition,  a 
sweep  of  wind  across  the  landscape,  or  a  sudden  luminosity  of  sky  is  sufl&cient 
to  him  to  lend  a  simple  road  or  bit  of  forest  land  a  peculiar  and  permanent 
fascination. 

He  is  particularly  fond  of  sunhght,  and  its  golden  luster  embellishes  the 
simplest  objects  with  a  true  touch  of  poetry.  But  it  is  the  poetrj'  of  nature, 
of  contrast  and  color,  or  in  other  words  an  expression  of  complete  pictorial 
sanity." 

He  is  an  excellent  draughtsman — perhaps  best  shown  in  his  figure  work. 

Many  of  his  canvases  have  hung  on  the  walls  of  the  Royal  Academy,  the 
^,ew  York  Academy  and  th?  leading  galleries  of  America. 

"The  marriage  column" 

"A  song  in  the  sky"     (Int.  studio  47:160.) 

HuTT,  Henry,  (I.)  b.  Chicago,  111.,  December  18,  1875.  After  a  short 
season  in  instruction  at  the  Art  Institute  of  Chicago,  he  opened  a  studio  in 
New  York  City,  his  commissions  warranting  the  step.  His  first  important 
undertakings  were  the  illustrations  for  a  continued  story  for  tha  Saturday 
Evening  Post;  has  illustrated  many  leading  magazines  and  periodicals, 
books,  etc. 

^Ir.  Hutt  likes  women  and  children  for  his  subjects,  depicting  them  with 
finesse  and  daintiness  of  execution.  His  characters  suggest  spontaneity  and 
human  naturalness  but  they  are  usually  in  a  setting  too  decorative  for  reaUty. 

"His  line  is  quaint  and  often  whimsical  with  an  almost  picturesque  en- 
semble, and  he  conveys  his  interpretation  with  sentiment  and  a  redundant 
sense  of  beaut}'." 

"He  makes  clothes  tell  their  portion  of  the  story,  but  perhaps  he  is  more 
an  apostle  of  the  well-dressed  than  is  Mr.  Fisher."     (Bk-buyer  22:23.) 

Hyatt,  Anna  Vaughan,  (S.)  b.  Cambridge,  Mass.,  March  10,  1876.  Pupil 
of  Henr}'  Hudson  Kitson  and  Art  Students'  League,  New  York. 

A  musician — an  artistic  performer  on  the  violin — during  an  attack  of 
ner\'ous  prostration,  Miss  Hyatt  found  recreation  in  modeling  clay.  This 
diversion  was  the  means  of  her  abandoning  her  musical  career,  for  upon 


112 

recovery  of  health,  she  chose  sculpture  for  her  life  work.  Wild  animals  are 
her  specialty,  she  being  the  only  American  woman  sculptor  who  studies 
nothing  but  animals. 

"Her  animals  are  most  assertive  in  character  and  away  from  the  con- 
ventionalized forms  we  have  seen  for  years  by  the  hundreds  ....  Miss  Hyatt 
seems  to  comprehend  the  psychology  of  each  and  every  animal  she 
models."     (Arts  and  D.  Jan.,  1912.) 

"She  divides  her  time  about  equally  between  horses  and  jungle  beasts, 
and  has  exhibited  many  groups  of  elephants,  tigers  and  lions  which  show 
not  only  breadth  and  depth  of  feeling  but  much  strength  in  execution." 

Anna  V.  Hyatt's  group  of  eight  plunging  horses  is  a  remarkable  piece  of 
work  and  is  accorded  by  critics  a  place  of  equality  with  Borglum's  famous 
":Mares  of  Diomedes."     (Arts  and  D.  2:296.) 

Among  other  things  Miss  Hyatt  has  restored  prehistoric  animals  for  the 
Brooklyn  Museum. 

Her  most  important  bronzes  are:  "Winter,"  "A  steep  grade,"  "Colts 
playing,"  "Goats  butting,"  etc. 

]\Iiss  Hyatt  has  collaborated  with  Miss  Abastenia  St.  I^eger  Eberle  another 
American  young  woman  who  has  abandoned  music  for  sculpture.  Their 
first  group,  "  Men  and  bull "  was  awarded  a  medal  at  the  St.  Louis  Exposition; 
"  Boy  and  goat  playing  "  is  another  fine  group  done  in  collaboration.  (Crafts- 
man 8:623.) 

Hyde,  Helen,  (E.)  b.  Lima,  N.  Y.,  April  6,  1868;  pupil  of  Emil  Carlsen 
in  New  York;  Raphael  Collin  in  Paris,  Skarbina  in  Berlin,  and  Kano  Tom- 
anobu  in  Japan.  Specialty:  Japanese  subjects  in  colored  wood  blocks  and 
etching. 

Among  the  artists  in  Europe  and  America  who  have  adopted  the  Japanese 
form  of  art  for  the  expression  of  their  own  ideas,  Miss  Helen  Hyde,  a  gifted 
young  American,  takes  high  rank.  After  devoting  two  years  to  the  task  of 
acquiring  the  Japanese  method  of  wielding  the  brush  she  was  rewarded  when 
her  Japanese  master  asked  her  to  paint  a  kakemono  for  the  annual  spring 
exhibition.  She  did  so,  calling  her  picture  "A  monarch  of  Japan."  This 
picture  was  awarded  first  prize  on  the  strength  of  excellent  handling  of  a 
particularly  difficult  brush — for  it  is  by  the  merits  or  demerits  of  skilful 
brush  work  that  Japanese  pictures  are  chiefly  valued. 

Miss  Hyde  reproduces  her  compositions  in  the  form  of  color  prints,  and 
has  become  famous  in  this  field  of  art. 

A  few  of  her  popular  prints  are : 

"Secrets"  "A  snowy  day  in  Japan" 

"  The  lucky  branch  "  "  The  bamboo  fence  " 

"The  mirror"  "Belated" 

"Happiness  flower"  "The  blossom  child" 

"The  greeting"  "Day  dreams" 


113 

"Baby  and  toy  "  " Baby  San " 

"  Rainy  evening  "  ''  In  his  father's  shoes  '^ 

"Child  of  the  people" 

One  of  Miss  Hyde's  most  successful  etchings  is  "Little  cheny  blossom." 
"Perhaps  the  greatest  triumph  in  Miss  Hyde's  work  lies  in  the  successful 
rendering  of  atmosphere  which  is  delicately  suggestive  of  the  flower-blossom 

country- In  "The  rainy  day"  we  have  this  quality  at  its  best." 

(Int.  studio  24:239.) 

Inman,  Henry,  (P.,  Min.  P.)  b.  Utica,  X.  Y.,  October  20,  1801;  d.  New 
York,  January  17,  1846.  He  displayed  talent  for  art  as  a  lad  but  he  inclined 
to  a  military  career  and  had  secured  a  commission  to  enter  the  West  Point 
Academy  when  he  saw  Westmuller's  famous  "Danae"  in  the  studio  of  John 
Wesley  Jarvis  in  New  York.  He  immediateh'  presented  himself  as  a  candi- 
date for  artistic  instructions;  was  accepted  and  studied  with  Jarvis  several 
years.  For  j^ears  he  executed  miniature,  cabinet  and  life-size  portraits, 
practiced  lithographic  drawing  and  sketched  scenerj^  with  rare  assiduity  and 
success.  Was  one  of  the  founders  of  the  National  Academy  of  Design  in 
1825  and  was  elected  its  first  vice  president. 

Mr.  Inman  went  to  Europe  in  1845  and  while  in  England  painted  the 
portraits  of  Woodsworth,  Macauley,  Dr.  Thomas  Chalmers  and  others; 
returning  to  America  he  also  painted  the  portraits  of  many  distinguished 
persons. 

His  landscapes  and  genre  compositions  include: 

"Scenes  from  the  Bride  of  Lam-  "The  news  boj^ " 

mermoor "  "The  brothers " 

"  Rydal  Falls,  England  "  "  Woodland  scene  " 

' '  Mumble-the-peg  "  ' '  Rip  Van  Winkle  " 

"The  sisters "  " Boyhood  of  Washington " 

"  Ruins  of  Brambletye  house  "  "  Lake  of  the  Dismal  Sv\-amp  " 
"Biman  wood" 

"In  his  happiest  efforts  at  portraiture,  wherein  there  was  great  inequaUty 
viewed  as  a  whole,  Inman  has  been  compared  to  Sir  Thomas  Lawrence:  his 
rapidity  of  execution  was,  uncommon;  a  "deUcate  mottling"  was  often  ad- 
mired in  his  color,  a  completeness  and  neatness  of  style  in  his  landscapes, 
and  skilful  manipulation  in  the  works  undertaken  con  atnore,  while  it  is  con- 
ceded that  he  was  the  first  American  artist  who  attempted  genre  with  suc- 
cess."    (Tuckerman.) 

Inness,  George,  (P.)  b.  Xewburg,  X.  Y.,  May  1,  1825;  d.  Bridge  of  Allan, 
Scotland,  August  3,  1894.     At  the  age  of  sixteen  he  began  to  study  engraving 
15 


GEORGE  INNESS. 


115 

in  New  York;  studied  art  in  the  studio  of  Regis  Gignoux,  New  York;  in  1846 
he  began  the  practice  of  landscape  painting  and  in  1850  went  abroad  where 
he  became  acquainted  with  Corot  and  Rousseau,  and  enjoyed,  for  a  time, 
the  close  companionship  of  Millet.  He  is  generally  considered  our  greatest 
landscape  painter.^  ^American  sunset"  was  selected  in  1867  by  the  Paris 
salon  as  a  representative  work  of  American  art.  He  was  elected  member 
of  the  National  Academy  of  Design,  New  York,  in  1868. 

"With  him  the  inspiring  idea  is  principal,  form  secondary  being  the  out- 
growth of  the  idea.  His  pictures  illustrate  phases  of  mind  and  feelings.  He 
uses  nature's  forms  simply  as  language  to  express  thought."     (Tuckerman.) 

"Inness  was  a  master  of  atmosphere,  and  added  the  poetrj-  of  color  to 

the  perfection  of  drawing He  ideahzed  all  his  creations  A^-ith  magical 

light  effects.  Such  deep  luminous  hghts  had  never  been  seen  before  on 
American  canvases."     (Hartmann.) 

"Moonlight"  fully  represents  Inness'  idea  of  the  night.  He  had  a  strong 
leaning  to  the  occult  and  many  of  his  paintings  have  a  spiritual  and  allegorical 
significance.  Inness'  paintings  stand  in  American  art  where  those  of  Rous- 
seau and  Corot  do  in  that  of  France."     (Nat.  Cyc.  Am.  B.) 

"Inness  gives  with  equal  felicity  the  drowsy  heat,  hot  shimmer  and  languid 
quiet  of  a  summer  noon,  or  the  storm  weighed  atmosphere;  its  dark  masses 
of  vapor  and  the  wild  gathering  of  thunder  clouds  with  their  solemn  hush 
before  the  tempest  breaks.  He  uses  sunlight  sparingly,  but  it  glows  on  his 
canvas  and  turns  darkness  into  hope  and  joy."     (Jan^es  "Art  idea.") 

"Delaware  valley"  is  considered  by  many  to  be  his  masterpiece. 

Arthur  Hoeber  says:  "At  his  [Inness']  best  he  yields  to  no  man  in  his 
profession  as  an  interpreter  of  nature  out  of  doors." 

Van  Dyke  says:  "Inness  is  more  allied  to  Corot  than  to  Meissonier. 
He  never  was  the  perfect  master  of  the  brush  that  we  have  heard  him  called, 

though  he  was  an  acceptable  and  often  a  ver\'  satisfactory  technician 

It  was  A\ith  color,  light  and  air  that  Inness  scored  his  greatest  success." 

"His  subjects  are  related  to  human  life  and  possibly  our  interest  in  his 
pictures  is  due  to  the  fact  that  he  shows  thoughts,  emotions  and  sensations 
comprehensible  of  humanity " 

"Inness  must  be  ranked  here  as  the  discoverer  of  the  American  meadow 
and  woodland — a  new  realm  of  beauty.     It  is  possibly  his  most  lasting  title 

to  fame And  Inness found  all  the  material  he  needed  within 

fifty  miles  of  New  York.  It  was  the  original  discovery  of  this  material,  his 
point  of  view  regarding  it,  what  he  did  ^^•ith  it  and  what  he  made  us  see  in  it, 
that  gives  him  high  rank  in  the  histor}'  of  American  painting." 

Liibke  says:  "He  was  like  Corot  in  his  indifference  to  the  minute  facts 
of  the  country  before  him,  and  like  Corot  in  his  disposition  to  harmonize 
sombre  foliage  and  pale  distant  sky  into  a  lovely  harmony,  but  he  was  more 
eager  than  was  Corot  to  seize  the  brilliant  color  of  sunset  and  to  use  his  gi'ay- 
green  trees  as  a  solid  frame  for  those  glowing  effects." 


116 

A  list  of  Inness'  principal  paintings  in  public  collections,  also  bibliography 
and  magazine  article  references  are  given  in  "Masters  of  Art,"  (Vol.  9.) 

Inness,  George,  Jr.,  (P.)  b.  Paris,  France,  January  4,  1854.  The  son  of 
George  Inness.  Was  a  pupil  of  his  father  in  Rome,  1870-4;  studied  one 
year  with  Bonnat  in  Paris.  Obtained  gold  medal  in  Paris  salon  1899;  also 
gold  and  silver  medals  at  various  exhibitions  in  the  United  States.  Has  a 
studio  in  New  York.  Devotes  himself  to  animal  painting.  Has  exhibited 
at  the  National  Academy  of  Design,  New  York,  since  1877,  when  he  sent 
"The  ford"  and  "Patience." 

A  few  of  his  paintings  are: 

" Monarch  of  the  farm "  "At  the  brook " 

"The  pride  of  the  dairy "  "Abandoned " 

' '  Waiting  for  the  master  "  ' '  Maternity  " 
"  New  born  lamb  " 

Member  of  the  National  Academy  of  Design,  New  York,  since  1899;  and 
of  the  French  Academy  since  1902. 

Of  his  landscapes  and  atmospheric  effects,  Miither  says:  "The  3'ounger 
Inness  has  a  fondness  for  departing  thunder  showers,  rainbows  and  misty 
red  sunbeams  penetrating  in  the  form  of  wedges  through  a  sea  of  mist,  and 
resting  upon  stony  fields." 

IsHAM,  Samuel,  (P.)  b.  New  York,  May  12,  1855.  Graduated  from  Yale 
College  in  1875.  Had  his  first  instruction  in  drawing  in  the  art  school  under 
Professor  Niemeyer.  During  a  three  years'  sojourn  in  Europe  he  had  draw- 
ing lessons  from  Jacquesson  de  la  Chevreuse.  On  his  return  to  the  United 
States,  he  took  up  the  study  of  law  and  practiced  the  profession  for  five 
years.  In  1883  he  again  took  up  art  and  went  to  Paris  and  entered  the 
Acaddmie  Julien,  studying  four  years  under  Boulanger  and  I^efebvre.  ^lem- 
ber  Society  American  Artists,  1891;  associate  member  National  Academy, 
1900,  academician,  1906.     Author  of  "History  of  American  painting." 

Ives,  Halsey  Cooley,  (P.)  b.  Montour  Falls,  N.  Y.,  October  27,  1847;  d. 
London,  England,  May  5,  1911.     Was  a  pupil  of  Alexander  Piatowsky. 

In  1864  he  entered  the  government  service  as  a  draughtsman  and  ih  1869 
he  began  a  study  of  decorative  art;  later  he  became  an  instructor  in  the 
Polytechnic  school  of  St.  Louis.  In  1881,  at  the  establishment  of  the  Museum 
of  Fine  Arts,  St.  Louis,  he  became  its  director.  He  was  decorated  by  King 
Oscar  of  Sweden  with  the  Order  of  the  Vasa  and  by  King  Christian  of  Den- 
mark with  the  Dannebrog  Cross.  He  received  a  silver  medal  at  the  St. 
Louis  Exposition  for  his  landscape  "Waste  lands,"  and  has  received  decora- 
tions and  medals  for  art  services  in  this  countr}',  France,  Austria,  Japan, 


117 

China,  Portiigal,  Belgium,  Bulgaria,  Sweden  and  Denmark.  A  member  of 
the  National  Sculpture  Society,  the  National  Art  Club,  the  Academy  of 
Science  and  other  organizations.     (American  Art  Annual  Vol.  9.) 

Ives,  Percy,  (P.)  b.  Detroit,  Mich.,  June  5,  1864.  At  the  age  of  eighteen 
he  entered  the  Pennsylvania  Academy  of  the  Fine  Arts.  In  1885  he  visited 
Europe,  spending  six  months  traveling  in  Scotland,  England,  the  Nether- 
lands, Germany  and  Italy.  He  studied  three  years  at  the  Academie  Juhen, 
Paris,  under  Boulanger,  Lefebvre,  Benjamin-Constant  and  Cormon.  After 
a  second  ^'isit  to  Paris  in  1890  he  was  appointed  dean  of  the  Detroit  Museum 
of  Art.  In  1893  he  studied  at  the  Ecole  des  Beaux  Arts  under  Gerome  and 
in  the  same  year  exhibited  at  the  salon. 

Returning  to  Detroit  in  1895  he  resumed  his  position  at  the  Museum  of 
Art,  since  which  time  he  has  painted  the  portraits  of  many  distinguished 
Americans;  has  also  done  some  landscape  work. 

Mr.  Ives  was  one  of  the  organizers  of  the  Society  of  Western  Artists  and 
is  an  incorporator  and  trustee  of  the  Detroit  Museimi  of  Art. 

JoHAXSEN*,  John  Christen,  (P.)  b.  Copenhagen,  Denmark,  November  25, 
1876.  Was  brought  to  this  country  when  an  infant  and  had  a  course  of  art 
study  at  the  Art  Institute,  Chicago,  in  early  boyhood.  He  studied  under 
Duveneck.  Freer  and  Vanderpoel,  then  went  to  Paris  and  continued  his  art 
studies  with  Benjamin-Constant  and  Jean  Paul  Laurens;  later  entered  the 
class  of  ^Miistler.  In  1901  he  returned  to  the  United  States  to  become  a 
member  of  the  faculty  of  the  Art  Institute,  Chicago,  and  at  about  that  time 
identified  himself  with  the  Society  of  Western  Artists.  Resigned  as  a  teacher 
that  he  might  devote  more  time  to  portrait  painting,  and  in  1906  went  to 
Italy  sojourning  long  in  Venice.  On  his  return,  a  special  exhibition  of  his 
Venetian  pictures  was  held  in  London.  Instant  recognition  came  to  him 
and  several  of  the  canvases  found  places  in  prominent  British  collections. 
Arthur  Hoeber  in  writing  of  this  exhibition  says:     "Mr.  Johansen  scorned 

precedent.     He  depicted  Venice  in  a  way  entirely  his  own There 

were  pictures  of  the  city  at  da^Ti,  under  golden  haze  at  sunset,  in  suggestive 
opal  fogs  and  always  there  was  palpitating  color  with  admirable  drawing  and 
construction  to  her  streets,  buildings  and  canals  ....  And  the  compositions 
were  so  generaUzed  that  the  spectator  deUghted  in  their  simpUcity,  ser- 
iousness and  beauty.  The  color  which  was  used  generously  was  piled  on  in 
simple  masses,  broken  and  vibrating."     (Int.  studio  42:sup.  iii.) 

At  a  later  exhibition  of  American  art  held  in  Chicago,  Mr.  Johansen  had 
ten  canvases.  "Each  specimen  proclaimed  its  separate  personahty,"  Avrites 
a  critic.  "At  sundown"  is  remarkable  for  its  unusual  coloring.  "The 
picture  book"  is  a  charming  arrangement  of  light.  "Autumn  afternoon" 
is  riotous  in  those  subdued  bright  colorings  with  which  Mr.  Johansen  is  so 
clever.     "When  the  day  is  done"  is  a  poetic  conception.     "Evening  calm" 


118 

is  a  majestic  essay  of  the  hour.  "Golden  mists"  demonstrates  his  skill  in 
rendering.     (Int.  studio  26:264.) 

"Mr.  Johansen  handles  his  architectural  drawing  firmly  and  well,  but  in  a 
summary  enough  fashion  to  subordinate  it  to  its  more  fluent,  pictorial  pur- 
pose."    (Int.  studio  40:lxxviii.) 

"Technique  with  Mr.  Johansen  is  a  medium  of  expression  and  in  that 
guise  is  never  employed  to  excite  wonderment." 

As  an  illustrator  Mr.  Johansen  has  also  been  very  successful  and  many 
consider  that  in  this  field  he  shows  as  much  promise  as  in  his  pictorial  pro- 
ductions. 

Johnson,  Eastman,  (P.)  b.  Lovell,  Maine,  July  29,  1824;  d.  New  York, 
April  5,  1906.  As  a  young  man  he  began  the  practice  of  his  profession  by 
the  execution  of  portraits  in  black  and  white,  showing  considerable  skill  and 
meeting  with  some  success. 

In  1849  he  went  abroad  and  shared  the  studio  of  Emanuel  Leutze  at  Diis- 
seldorf,  Prussia.  He  studied  art  four  years  at  The  Hague  and  then  pro- 
ceeded to  Paris.     Returned  to  the  United  States  in  1856. 

His  first  important  works  were  "Card  players"  and  "Savoyard  boy." 
He  opened  a  studio  in  New  York  upon  returning  to  the  United  States  and 
was  made  a  member  of  the  National  Academy  of  Design,  New  York,  in  1860. 

Here  he  painted  those  pictures  of  American  domestic  and  negro  life  in 
which  he  so  decidedly  excelled.  In  accurate  delineation  of  character  "The 
old  Kentucky  home"  is  hardly  surpassed. 

Tuckerman  says:  "In  his  delineation  of  the  negro,  Eastman  Johnson 
has  achieved  a  pecuUar  fame.  One  may  find  in  his  best  pictures  of  this  class 
a  better  insight  into  the  normal  character  of  that  unfortunate  race  than 
ethnological  discussion  often  yields." 

He  was  a  power  in  American  art  life  to  the  very  last.  He  painted  a  large 
number  of  portraits,  and  his  self-painted  portrait,  painted  in  1899,  is  technical- 
ly superior  to  anything  executed  by  him  during  the  first  fifty  years  of  his  life. 
(Artists  of  the  Nineteenth  Century.) 

Johnson,  Marshall,  (P.)  b.  Boston,  Mass.;  pupil  of  the  Lowell  Institute; 
member  of  the  Boston  Art  Club  and  Copley  Society.  Address:  184  Boylston 
Street,  Boston,  Mass. 

Painter  of  "United  States  Frigate  Constitution." 

Johnston,  John  HuMPHRpns,  (P.)  b.  New  York,  November  2,  1857. 
Studied  art  under  John  LaFarge.  In  1899  went  to  Paris  where  he  studied 
under  Lefebvre  and  Doucet,  and  later  to  Madrid.  Has  resided  mainly  in 
France  and  Italy  since,  and  has  a  studio  in  Venice. 

One  of  his  •pictures,  "Domino  Rose"  is  now  owned  in  France,  and  the 


119 

portrait  of  his  mother  is  in  the  Luxembourg.  "Light  nights  in  Norway" 
and  "  Myst«ry  of  the  night "  are  characteristic  paintings. 

In  1898  he  painted  the  portrait  of  Sarah  Bernhardt  as  "Lorenzaccio  "  and 
the  "Vision  of  St.  Paul  at  Lystra."  Spain  and  Brittany  have  furnished 
many  of  the  subjects  he  has  used. 

Mr.  Johnston  was  made  a  chevalier  of  the  Legion  of  Honor  in  1901.  Is 
associate  member  of  the  Societe  Nationale  des  Beaux  Arts,  Paris  and  Inter- 
national Society  of  Painters,  Gravers,  etc.,  London. 

Jones,  Hugh  Bolton,  (P.)  b.  Baltimore,  Md.,  October  20,  1848.'  Studied 
art  in  France.  Received  bronze  medal  at  Paris  Exposition  1889;  bronze 
medal  at  Paris  Exposition  1900:  Webb  prize  Society  American  Artists  1902; 
Shaw  fund  prize  1902;  gold  medal  at  St.  Louis  Exposition  1904.  Is  a  member 
of  the  National  Academy.     Specialty,  landscape. 

Visited  Europe  in  1876  and  studied  there  four  yeai-s.  Became  a  member 
of  the  artists'  colony  at  Pont  Aven  in  Brittanj-.  Traveled  in  Spain,  France, 
England,  Italy  and  Morocco. 

Principal  paintings  are: 

"Brittany  "  " The  road  through  the  poplars " 

"  October  "  "  Summer  in  the  Blue  Ridge  " 

"  On  Herring  Run  "  "  Spring  " 

Paintings  are  in  the  Metropolitan  Museum,  New  York;  Peabody  Institute, 
Baltimore;  Erie  Art  Club;  Corcoran  Galler\'  of  Art,  Washington;  Shaw  col- 
lection, Philadelphia  Art  Club. 

"  His  work  possesses  sterhng  quahties  of  color  and  drawing,  belongs  to  the 
naturalistic  school  and  is  widely  known  at  home  and  abroad.  (Nat.  C\'. 
Am.  Biog.) 

JosEPHi,  Isaac  E.,  (Min.  P.)  b.  New  York  City.  Pupil  of  Art  Students' 
League,  New  York;  also  of  Leon  Bonnat  in  Paris.  First  president  of  American 
Society  of  Miniature  Painters;  member  Royal  Society  of  Miniature  Painters, 
London.  Mr.  Josephi  is  accredited  with  the  conception  of  the  American 
society.  His  "Portrait  of  a  lady"  shown  at  the  first  exhibition  of  the  society 
was  the  subject  of  much  controversy.  Some  miniaturists  insisted  that  it 
was  far  too  modern  for  their  art's  limitations,  while  others  insisted  that 
their  art  had  no  limitations. 

Keith,  William,  (P.,  I.)  b.  Aberdeen,  Scotland,  1839;  d.  Berkeley*,  Cali- 
fornia, March,  1911.  When  a  lad  came  to  this  countrj-  with  his  parents. 
Began  his  career  in  New  York  as  a  wood  engraver;  afterward  worked  for 
Harper. 

In  1859  Mr.  Keith  went  to  California  and  began  his  out  of  doors  painting; 


^^ 


120 

sketched  in  black  and  white  and  also  did  water  color  work.  In  1869  he  went 
to  Diisseldorf,  then  to  Spain. 

He  was  employed  by  the  Northern  Pacific  Railroad  Company  to  paint 
some  of  the  characteristic  scenes  along  its  route.  ''Some  of  his  redwood 
pictures  are  very  beautiful,  giving  vivid  impressions  of  the  magnificent 
scenery  of  California,  but  pastoral  scenes  with  distant  mountains  are  his 
characteristic  subject,  and  these  he  has  rendered  under  many  varj'ing  con- 
ditions of  light  and  atmosphere."     (Nat.  Cy.  Am.  Biog.) 

"He  delighted  in  rich  strong  color  and  in  dramatic  aspects  of  nature.  His 
paintings  ai<e  toneful,  poetical  and  decorative."     (Art  &  P.  2:227.) 

Keith's  paintings  "deal  with  emotions  aroused  or  suggested  by  landscape 
under  certain  conditions  of  light  and  atmosphere."     (Int.  studio  33:36.) 

His  paintings  are  included  in  the  permanent  collections  of  the  Chicago 
Art  Institute,  the  Brooklyn  Institute,  the  Corcoran  Gallery  of  Art  and  the 
National  Gallery  of  Art,  Washington,  as  well  as  in  many  private  collections. 

When  George  Inness  visited  California  in  1890  he  made  William  Keith's 
studio  his  headquarters. 

Keller,  Arthur  I.,  (I.)  b.  New  York,  July  4,  1866.  Pupil  of  National 
Academy  of  Design  under  Wilmarth  and  Ward,  Loefftz  in  Munich.  Has 
won  many  prizes  for  drawings,  water  color,  illustration  and  painting  and  is  a 
member  of  leading  art  clubs. 

Of  his  illustrations  shown  at  the  last  annual  exhibition  of  the  Society  of 
Illustrators,  The  International  studio  for  December,  1912,  says:  "They 
are  so  ably  executed,  so  full  of  technical  brilliancy,  of  learning  in  the  value 
of  accent  and  contrast,  in  the  animating  power  of  spirited  brushwork,  that 
one  wonders  if  he  might  not  make  dancing  compositions  without  the  intro- 
duction of  solid  figures.  He  has  a  sense  of  color,  that  intuitive  feeling  for 
value  that  is  essentially  a  painter  quality." 

Among  his  best  works  are: 

"At  Mass"  "The  sisters" 

"Lead,  kindly  light"  "The  finishing  touches" 

Popular  books  that  he  has  illustrated : 

"The  first  American  George  "The  right  of  way" 

Washington"  "Hanging  of  the  crane,"  Longfellow 

"A  poor  man"  "Legend  of  Sleepy  Hollow,"  Irving 

"Autobiograi)hy  of  a  quack"  Bret  Hart's  stories 
■  "The  Virginian" 

Kelly,  J.\mes  Edw.\ri),  (S.,  I.)  b.  New  York,  July  30,  1855.  His  first 
pictures  were  historical  compositions  and  from  his  earliest  childhood  he 
studied  everything  he  could  find  touching  upon  American  history.     In  1871 


121 

he  was  apprenticed  to  a  wood  engraver  and  studied  in  the  Academy  of  De- 
sign. Also  studied  with  Theodore  Robinson  and  Carl  Hirschberg.  He 
assisted  in  organizing  the  Art  Students'  League.  Entered  the  art  depart- 
ment of  Harper  &  Brothers  in  1873  and  opened  a  studio  with  Edwin  A.  Abbey 
where  they  began  illustrating  for  magazines.  His  first  statuette  was  of 
■"Sheridan's  ride." 

Mr.  Kelly  was  chosen  to  model  the  five  bas-rehefs  around  the  base  of  the 
Monmouth  monument.     The  subjects  selected  were: 

"  The  council  of  war  at  Hopewell " 
"  Washington  rallying  his  troops  " 
"*  Ramsey  defending  his  guns  " 
''Molly  Pitcher" 
*' Wayne's  charge" 

Other  well-known  works  are: 

"Arnold  wounded  in  the  trenches ;"'"Schu54er  giving  his  plans  to  Gat«s 
before  the  Battle  of  Saratoga,"  for  the  Saratoga  monument;  statue  of  General 
Grant  at  Donelson,  for  which  the  general  posed;  statue  of  "Call  to  arms," 
for  the  Troy  monument;  statue  of  "General  Buford  at  Gettysburg;"  "Knowl- 
ton  at  Harlem  Heights,"  at  Columbia  College  for  the  Sons  of  the  Revolution. 

His  later  works  are  an  equestrian  statue  of  General  Sherman;  Col.  Roose- 
velt at  San  Juan  Hill,  and  the  Fitz-John  Porter  monument  for  which  General 
Porter  selected  Mr.  Kelly  to  be  the  sculptor.     (Nat.  Cyc.  Am.  Biog.) 

Kemble,  Edward  Windsor,  (I.)  b.  Sacramento,  Cal.,  Jan.  18,  1861. 
Educated  in  the  public  schools  of  New  York.     SeK-taught  in  art. 

Since  1881  has  been  connected  vnih  various  magazines  and  weekly  periodi- 
cals as  illustrator  and  cartoonist;  specialty,  negro  characters.  Has  illustrated 
many  notable  books,  such  as  Mark  Twain's  "Huckleberry  Finn,"  and  "Pud- 
din'  Head  Wilson";  Stowe's  "Uncle  Tom's  Cabin."  He  is  author  of  books 
entitled  "Rosemarj-,"  "Virginia  Creeper,"  " Kemble 's  Coons,"  "Kemble's 
Pickaninnies,"  "Billy-goat"  and  other  comicalities. 

Has  exhibited  in  New  York,  Philadelphia,  Chicago,  St.  Louis  and  other 
cities  in  the  United  States. 

Kemeys,  Edward,  (S.)  b.  Savannah,  Ga.,  January'  31,  1843;  d.  Georgetown 
Heights,  Washington,  D.  C,  May  11,  1907.  Received  his  education  in  the 
schools  of  New  York  City.  Upon  leaving  school  he  entered  mercantile  busi- 
ness which  he  gave  up  for  federal  servace  during  the  civil  war;  and  it  was 
not  until  after  the  close  of  the  war  and  he  was  employed  in  the  civil  engineer- 
ing coi-ps  of  Central  Park,  New  York,  that  he  made  his  debut  as  a  scupltor. 
His  specialty  is  Indians  and  Avild  animals  of  America. 


122 

In  1878  he  exhibited  in  the  Paris  salon  his  now  famous  group  "Bison  and 
wolves."  Returning  to  New  York  he  produced  "Still  hunt,"  "Wolves," 
"Panther  and  deer,"  and  "Raven  and  coyote." 

In  1892  he  went  to  Chicago,  executing  there  a  number  of  large  groups 
for  the  Columbian  Exposition.  Also  modeled  the  large  bronze  lions  in  front 
of  the  Chicago  Art  Institute  building. 

Julian  Hawthorne  in  1884  in  writing  of  Mr.  Kemeys'  art  said  that  we* 
find  "not  merely  nor  chiefly  the  accurate  representation  o^  the  animal's  ex- 
ternal aspect,  but  what  is  vastly  more  difficult  to  seize  and  portray — the 
essential  animal  character  or  temperament  which  controls  and  actuates  th& 
animal's  movement  and  behavior Here  is  an  artist  who  under- 
stands how  to  translate  pose  into  meaning,  and  action  into  utterance,  and  to 
select  those  poses  and  actions  which  convey  the  broadest  and  most  com- 
prehensive idea  of  the  subject's  prevailing  truth."  ("American  wild  animals 
in  art."     Century  6:214.) 

Kendall,  Margaret  Stickney  (ilrs.  William  Sergeant  Kendall),  (Min. 
P.)  b.  Staten  Island,  N.  Y.,  November  29,  1871.  Pupil  of  J.  Alden  Weir, 
Julius  Rolshoven  and  William  Sergeant  Kendall. 

Received  bronze  medal  at  St.  Louis  Exposition,  1904.  Member  of  the 
American  Society  of  Miniature  Painters. 

Kendall,  William  Sergeant,  (P.)  b.  Spuyten  Duyvil,  N.  Y.,  January  20,. 
1869.  At  the  age  of  fourteen  he  was  painting  and  modeling  with  Thomas- 
Eakins  in  Philadelphia;  from  seventeen  to  nineteen  he  worked  in  the  Art 
Students'  League,  New  York,  then  went  to  Paris  where  he  studied  with. 
Luc-Olivier  Merson  and  later  at  the  Ecole  des  Beaux  Arts. 

At  twenty-one  he  exhibited  in  the  salon  and  the  next  year,  1891,  received 
honorable  mention  for  his  "Penitents."  This  picture  has  obtained  for  him 
several  medals  and  prizes;  other  paintings  have  brought  him  flattering; 
recognition.  "Narcissa"  won  the  Harris  prize;  "Alison"  won  the  Potter 
Palmer  gold  medal  and  $1,000.  Is  a  member  of  the  Society  of  American 
Artists;  associate  member  of  the  National  Academy  of  Design,  New  York, 
1901 ;  full  member,  1905. 

Mr.  Kendall  has  been  called  the  "painter  of  children."  His  own  charm- 
ing children  are  his  models.  In  his  mother  and  child  subjects,  he  shows  the 
tender  joy  of  motherly  love. 

Other  favorite  pictures  are: 

"A  fairy  tale "  " L' Allegro "  and  "  11  Penseroso " 

"  Beatrice  "  "  The  end  of  day  " 

"  Three  portraits  "  ''  The  seer  " 

"An  interlude"  "The  critic" 

"The  green  gnome" 


123 

"Mr.  Kendall  is  that  somewhat  rare  type  of  artist,  a  classical  intimist. 
His  vision  is  eminently  classic.     All  his  forms  are  generalized  from  repeated 

observation Kendall  is  not  afraid  of  putting  into  a  picture  a  good 

deal  that  the  memorj'^  contributes  to  the  eye;  he  is,  one  might  say,  anti- 
impressionistic."     (Arts  and  D.  1:16.) 

"With  ideals  unimpaired,  Kendall  finds  himself  today  the  master  of  a 
self-evolved  technique  eminently  congenial  to  their  interpretation."  (Harper 
117:568.) 

"He  is  a  skilful  technician  .  .  Surfaces  in  his  paintings  are  exquisitely 
rendered." 

Kinney,  Margaret  West,  (I,)  (Mrs.  Troy  Kinney)  b.  Peoria,  111.  Pupil 
of  Art  Students  League  of  New  York;  Juhen  Academy  in  Paris  under 
Robert-Fleurj',  Collin,  Merson  and  Lefebvre.     Has  illustrated  many  books. 

IviNNEY,  Troy,  (I.)  b.  Kansas  City,  Mo.  Pupil  of  New  York  School  of 
Art.  Member  of  Yale  Club  of  New  York.  Has  illustrated  "The  white 
Christ."  and  in  collaboration  with  Margaret  W.  Kinney  "A  ladder  of 
swords,"  "The  ward  of  King  Canute,"  "Barlash  of  the  guard"  and  other 
books. 

Kirk,  Maria  Louise,  (P.,  I.)  b.  Philadelphia,  Pa.,  daughter  of  George  H. 
and  Harriet  (Craig)  Kirk;  studied  at  Philadelphia  School  of  Design,  and 
Pennsylvania  Academy  of  the  Fine  Arts,  Philadelphia  Art  Club.  Received 
Mary  Smith  prize  at  the  Pennsylvania  Academy  of  the  Fine  Arts  1894. 

Is  illustrator  of  "Alice  in  Wonderland,"  and  other  children's  books;  also 
a  portrait  painter. 

Favorite  pictures: 

"Jack And  JiU "  " Little  Miss  Muffett " 

"  Little  Bo  Peep  "  "  Mistress  Mar>' " 

"  Little  Boy  Blue  "  "  Queen  of  hearts  " 

"  Little  Jack  Homer  "  "  This  Uttle  pig  " 

Knight,  Daniel  Ridgway,  (P.)  b.  Philadelphia,  Pa.,  1850:  of  Quaker 
parents.  Few  men  who  have  won  distinction  with  the  palette  and  brush 
have  started  under  less  favorable  auspices;  a  ban  was  placed  under  the 
parental  roof  on  pictures  and  music.  His  grandfather  was  con\Tnced  of  his 
artistic  talent,  and  through  his  influence  Ridg\say  was  permitted  to  enter 
the  classes  of  the  Pennsylvania  Academy  of  the  Fine  Arts.  Later,  with 
parental  sanction  and  support,  he  was  settled  in  Paris.  He  studied  in  the 
atelier  Gleyre,  then  spent  three  years  at  the  Ecole  des  Beaux  Arts:  later 
studied  at  the  British  Academy,  Rome;  returned  to  the  United  States  and 
took  a  studio  in  Philadelphia  for  a  time  painting  portraits  and  genre  pict- 
ures and  teaching. 


124 

In  1871  went  to  Paris  and  in  1873  with  his  family  moved  to  Poissy  where 
he  met  Meissonier.  This  acquaintance  ripened  into  warm  friendship,  and 
Mr.  Knight  ever  afterward  acknowledged  the  great  French  painter  as  his 
master. 

He  received  honorable  mention  at  the  Paris  salon  of  1884;  third-class 
gold  medal,  Paris  salon,  1888;  was  honored  with  the  Cross  of  the  Legion  of 
Honor,  France,  1889,  and  with  the  Cross  of  Saint  Michael  of  Bavaria,  1892. 

To  the  salon  of  1873  he  sent  "The  fugitives"  and  to  the  salon  of  1875, 
'*  Washerwomen." 

"The  Shepherdess  of  Rolleboise,"  "A  summer  evening,"  "On  the  terrace," 
"The  gardener's  daughter,"  "July  morning,"  "Quietude,"  and  "Curiosity," 
are  all  salon  pictures,  and  give  a  fair  idea  of  the  character  of  his  work. 

"Those  familiar  with  Knight's  paintings  will  recognize  in  them  a  sort  of 
family  resemblance,  due  to  likeness  of  models  and  similarity  of  landscape 
backgrounds." 

He  is  for  the  most  part  the  painter  of  a  single  class  of  models — demure 
little  peasant  girls  with  their  wooden  shoes  and  picturesque  costumes. 

"He  glories  in  the  fact  ....  that  he  is  a  painter  of  popular  pictures,  in 
which  happy  conceptions  successfully  worked  out  meet  public  approval  and 
command  public  patronage."     (Brush  &  P.  7:193.) 

KoxTi,  LsiDORE,  (S.)  b.  Vienna,  Austria,  July  2,  1862,  of  Hungarian  parents. 
Entered  the  Imperial  Academy  at  the  age  of  sixteen;  won  several  scholar- 
ships and  finished  his  studies  at  Meisterschule  of  Prof.  Karl  Kundmann, 
Vienna.  After  two  years  in  Rome  he  returned  to  Vienna  and  executed 
numerous  works,  including  a  marble  bust  of  Emperor  Francis  Joseph.  Came 
to  the  United  States  in  1890. 

As.sociate  member  of  the  National  Academy  in  1906;  full  member  in  1909. 
Vice  president  of  the  National  Sculpture  Society;  one  of  the  directors  of  the 
Architectural  League  and  a  member  of  the  leading  art  societies  of  the  United 
States. 

Decorative  monumental  and  ideal  work  is  his  specialty. 

Among  the  more  important  works  which  Mr.  Konti  has  executed  is  "The 
despotic  age,"  a  monumental  marble  group  in  the  Metropolitan  Museum, 
N.  Y.  Another  beautiful  work,  the  "Edward  Beale  and  Kit  Carson"  monu- 
ment, is  now  in  the  National  jNIuseum  in  Washington,  D.  C.  The  McKinley 
monument  in  Philadelphia  was  executed  in  collaboration  with  the  late  Charles 
Lopez.     (Int.  studio  45:197.) 

Among  Mr.  Konti's  ideal  works  may  be  mentioned  the  figures  "  Inspiration" 
and  "Orpheus,"  the  groups  "Pan  and  Cupid,"  "Awakening  of  Spring,"  and 
a  fountain  symbolizing  "The  brook." 

"Mr.  Konti  is  always  refined,  but  this  coy  figure  ("The  brook")  is  a  verit- 
able embodiment  of  sinuous  grace."     (Taft.) 


125 

KosT,  Frederick  W..  (P.)  b.  New  York,  May  15,  1861.  Pupil  National 
Academy  of  Design.  Received  honorable  mention  at  Paris  Exposition, 
1900;  bronze  medal  at  Pan-American  Exposition,  Buffalo,  1901;  silver  medal 
at  St.  Louis  Exposition,  1904.  Associate  member  of  National  Academy, 
1900;  full  member  in  1906.  Member  Societv  Landscape  Painters,  Brooklyn, 
N.  Y. 

Specialty,  landscapes  and  marines. 

Ladd,  Anxa  Colemax  (Mi-s.  Ma>-nard  Ladd),  (S.).  Received  her  art 
education  in  Europe.  She  first  exhibited  in  Boston,  Philadelphia  and  New- 
York  in  1907.  Since  then  her  work  has  been  included  in  even.'  American 
exhibit  of  sculpture. 

Mrs.  Ladd  prefers  imaginative  subjects  but  she  has  modeled  a  number 
of  successful  portrait-busts  and  reUefs. 

"The  American,"  which  first  attracted  thoughtful  artists  stands  for  the 
universal  human  qualities  of  strength,  determination  and  moral  force.  •  "Beast 
of  prey"  portrays  the  low  earthside  of  man.  "Pan"  and  "Youth"  personify 
the  American  spirit  of  the  woods.  "The  sundial"  and  "Bird  fountain" 
stand  in  an  Italian  garden  in  Manchester-by-the-sea. 

"Her  work  has  not  only  originality  but  strength  and  unusual  significance. 
While  it  stirs  the  emotions  it  also  provokes  thought."  (Anna  Seaton- 
Schmidt  in  Art  &  P.,  July,  1911.) 

La  Farge,  Johx,  (P.,  Mural  and  Stained  glass  designer)  b.  New  York, 
March  13,  1835;  d.  Providence,  R.  I.,  November  14,  1910.  His  boyhood  was 
spent  in  Newport,  R.  I.,  where  his  en\ironment  was  such  as  to  foster  and 
develop  his  strong  sense  of  color.  From  his  earhest  youth  flowers  were  his 
intimate  and  loving  companions,  and  from  them  he  learned  the  secret  of 
dehcate  gradation  and  harmony  of  color.  At  the  age  of  twenty-one  he  went 
to  Paris  and  entered  the  studio  of  Couture. 

^Ir.  LaFarge's  work  is  so  varied  in  subject,  in  feeling,  in  scale,  it  is  executed 
in  so  many  different  mediums  (he  worked  in  oil,  in  water-color  and  on  wood; 
was  a  mural  decorator,  a  painter  in  stained  glass  and  a  sculptor)  that  gen- 
eralization is  impossible. 

A  member  of  the  National  Academj'  of  Design  since  1869. 

He  received  the  honorary  degi-ee  M.  A.  Yale,  1896;  L.  L.  D.  Yale,  1901; 
Princeton,  1904.  He  was  an  art-  critic  and  lecturer,  as  well  as  the  most 
learned  painter  of  our  times.  From  the  mystics  of  early  China  to  those  of 
Barbizon,  the  historj*  of  painting  was  an  open  book  to  him.  It  was  one  of 
his  strongest  con\'ictions  that  color  s}-mbolizes  character  and  can  be  made 
to  express  the  hidden  meaning  of  things. 

In  his  pureh'  imaginative  works  in  oil,  he  drew  from  the  realm  of  fairj'land 
and  witchcraft  for  subjects:     "The  pied  piper  of  HameUn,"   "The  wolf 


JOHN   LA  FAROE 


127 

charmer/'  ''The  sorceress,"  "The  fishermen  and  the  genii,"  "The  siren's 
song." 

At  a  London  exhibition  one  of  his  landscapes  was  hung  between  a  Rous- 
seau and  a  Delacroix,  and  the  French  government  bestowed  the  insigna 
of  the  Legion  of  Honor  upon  him  when  he  exhibited  the  Watson  memorial 
window  at  the  Paiis  Exposition  in  1889. 

A  triumph  in  mural  decoration  are  his  four  paintings  in  the  Supreme  court 
room  in  the  Minnesota  state  house;  and  his  "Ascension"  in  the  Church  of 
the  Ascension,  New  York,  is  one  of  the  most  beautiful  things  done  in  modem 
religious  mural  painting. 

It  was  his  color  again  that  proclaimed  his  authority  in  glass,  and  recalls 
the  richness  and  splendor  of  the  old  masters.  He  invented  the  "opaline 
glass"  and  his  new  method  for  making  stained  glass  Avindows  changed  the 
entire  art  of  the  glass  stainer.  His  masterpiece  in  glass  work  is  the  famous 
Peacock  window  now  preserved  in  the  Art  Museum  at  Worcester,  Mass. 

'"A  gieat  colorist  who  expressed  in  the  language  of  color  all  the  emotion 
of  the  human  soul.  He  has  placed  an  indelible  mark  upon  American  art." 
(Jarves  "Art  idea.") 

"With  his  masteiy  of  color  he  created  new  forms  of  devotional  beauty 
unsurpassed  since  the  renaissance."     (Art  and  P.  3:379.) 

"He  had  probablj^  the  most  complex  nature  in  our  artistic  history,  and 
indeed  he  had  in  this  respect  no  paraUel  among  the  masters  of  his  time 
Abroad."     (Cortissoz.) 

Lamb,  Charles  Rollixsox,  (Stained-glass  designer)  b.  New  York.  Studied 
art  at  the  Art  Students'  League  of  New  York.  Specialty:  rehgious  and 
municipal  art. 

The  artistic  decoration  of  the  Sage  Memorial  Chapel  at  Cornell  University, 
was  designed  bj'  ^Ir.  Lamb.  The  lower  wall  surface  in  mosaic — a  proces- 
sional— expresses  the  idea  of  education:  the  center  subject  is  that  of  life  and 
character,  and  the  ceiling  that  of  religion. 

The  paintings  and  studies  of  detail  in  the  processional  were  made  by  his 
wife,  Ella  Condie^amb,  and  the  mural  paintings  on  the  ceiUng  in  the  groined 
arches,  by  his  brother,  Frederick  Stymatz  Lamb. 

In  describing  this  work,  the  Outlook  70:571  says:  "This  mosaic  is  one 
of  the  most  important  in  size  and  character  of  any  thing  executed  in  the 
United  States.  It  ranks  with  the  work  of  W^ilham  R.  Richmond,  of  the 
Royal  Academy,  in  St.  Paul's  Cathedral,  London,  the  great  processional  by 
Charles  Lehmair  in  the  ^ladeleine  Church,  Paris,  the  panels  of  the  new  facade 
of  the  Cathedral  in  Florence,  or  what  has  been  wTought  by  the  late  Sir  Edward 
Bume- Jones  in  the  American  Church  at  Rome." 

Mr.  Charles  RolUnson  Lamb  has  unusual  quality  as  an  artist-decorator. 
^' He  sees  things  'in  the  whole,'  with  rare  judgment  and  art  feehng."  (Crafts- 
man 13:420.) 


128 

Lamb,  Ella  Condie  (Mrs.  Charles  R.  Lamb),  (Mural  P.,  S.,  I.)  b.  New- 
York.  Pupil  of  William  M.  Chase,  C.  Y.  Turner,  Walter  Shirlaw  in  New 
York,  Courtois  and  Collin  in  Paris,  and  Herkomer  in  England.  Has  received 
many  prizes  and  medals  for  her  work  shown  at  various  exhibitions  in  this* 
country. 

Mrs.  Lamb  specializes  in  decorative  designs  for  public  edifices.  Among: 
her  works  are  "The  Advent  angel,"  "The  Christ  child,"  for  the  Conrad 
memorial  (in  mosaic),  St.  Mary's  church,  Wayne,  Pa.,  and  "The  Arts" 
and  "The  Sciences"  for  the  memorial  chapel  at  Cornell  University  in  col- 
laboration with  her  husband,  Mr.  Charles  RoUinson  Lamb,  who  designed 
the  elaborate  interior  decoration  of  this  marvelous  art  tribute  to  Henry  W. 
Sage  and  wife. 

Lamb,  Frederick  Stymatz,  (Mural  and  stained-glass  designer)  b.  Newr 
York,  June  24,  1863.  Pupil  of  Art  Students'  League  of  New  York;  also- 
studied  under  Lefebvre  and  Boulanger  in  Paris.  Specialty:  stained  glass- 
Received  honorable  mention  at  the  Columbian  Exposition,  Chicago,  1893;: 
medal  from  the  French  government  for  window  at  Paris  Exposition  1900,. 
and  was  one  of  the  four  glass  workers  invited  to  represent  the  United  States- 
at  that  exposition. 

Has  received  commissions  for  important  mural  decorations,  among  them 
a  large  canvas  for  the  Bethlehem  Presbyterian  Church,  Philadelphia,  Pa.;: 
work  for  the  Bethesda  Church,  Saratoga,  New  York,  and  St.  Peter's  Church,. 
New  York.  Designed  the  window  in  Emerson  Memorial  Chapel,  Titusville,. 
Pa. — "Friendship"  (David  and  Jonathan).  "Religion"  is  an  especially 
fine  window  in  the  Jones  Memorial  Library,  Lynchburg,  Va. ;  also  is  his  mural 
painting,  "Gloria  in  excelsis"  in  the  Sage  Memorial  Chapel  at  Cornell  Uni- 
versity. 

His  most  important  recent  design  is  a  series  of  eight  windows  in  the  old 
Plymouth  Church,  Brooklyn,  N.  Y.: 

"Hampden  and  Pym  appeahng  for  the  Bill  of  Rights  before  Charles  I'^ 
"Milton  writing  the  plea  for  the  liberty  of  the  press" 
"John  Robinson's  prayer  on  the  Speedwell — Departure  of  the  Pilgrims 
from  Delf haven" 

"  The  signing  of  the  Compact  on  board  the  Mayflower  " 

"The  landing  of  the  Pilgrims " 

"Founding  Harvard  College" 

"George  Eliot  preaching  to  the  Indians" 

"Cromwell  announcing  to  George  Fox  personal  liberty  of  worship." 

Besides  these,  are  three  other  windows,  showing  in  the  central  one,  Abraham 
Lincoln  as  president;  on  one  side,  Henry  Ward  Beecher  speaking  on  the 
platform  of  Exeter  Hall,  London,  in  favor  of  the  anti-slavery  bill,  on  the 


12a 

other,  Harriet  Beecher  Stowe  in  a  group  of  women  prominent  in  the  move- 
ment for  the  higher  education  of  women.  This  work  is  gorgeous  in  color  and 
beautifully  harmonizes  with  the  architecture  and  decorative  scheme  of  the 
church. 

"There  is  a  human  quaUty  in  the  art  of  this  artist  and  even  where  the 
utmost  conventionaUty  of  form  has  to  be  respected,  there  is  a  story  with 
picturesque  surroundings."     (Craftsman  13:420.) 

Lathrop,  Francis,  (Mural  P.)  b.  at  sea  near  'the  HaAvaiian  Islands. 
June  22,  1849;  d.  Woodcliffe  Lake,  N.  Y.,  October  18,  1909. 

In  1862  he  went  to  Dresden,  Germany,  and  studied  painting  at  the  Royal 
Academy  of  Fine  Arts;  afterv\'ards  studied  in  London  with  Ford  Madox- 
BroAA-n  and  Sir  Edward  Burne-Jones  and  acted  as  assistant  to  R.  Spencer 
Stanhope  and  William  Morris,  devoting  special  attention  to  stained  glass 
work.     After  1873  was  engaged  in  portrait  and  decorative  painting. 

Among  his  chief  decorative  works  are  the  mural  paintings  entitled:  "The 
Light  of  the  world"  over  the  altar  of  St.  Bartholomew's  Church,  "Apollo" 
over  the  proscenium  of  the  Metropolitan  opera  house,  New  York;  "Moses 
with  the  tablets  of  the  Lord  "a  wall-painting  in  the  Bowdoin  chapel,  Bruns- 
wick, Me. 

For  the  ^larquand  memorial  window  in  Princeton  college  chapel,  he  re- 
ceived a  gold  medal  in  1889.  . 

Mr.  Lathrop  executed  many  mural  paintings  and  much  stained  glass  work 
for  numerous  churches  and  residences  in  New  York,  Albany,  Boston,  Balti- 
more and  other  cities. 

A  member  of  the  National  Academy  of  Design,  1906;  also  a  member  of 
the  leading  art  societies  and  clubs. 

Lauber,  Joseph,  (P.,  S.,  E.,  Mural  P.  and  stained  glass  designer)  b.  West- 
phaha,  Gennany,  August  31,  1856.  Pupil  of  Walter  Shirlaw  and  AVilliam 
M.  Chase,  in  painting.  Assisted  John  LaFarge  in  sculptural  decorations  of 
Cornelius  Vanderbilt's  residence,  1882;  executed  a  number  of  etchings,  1887- 
94,  and  has  painted  a  conception  of  the  Christ  which  has  been  widely  noticed. 

Among  his  best-known  mural  painting  and  stained  glass  work  are : 

"Redemption"  window,  Westminster  Presbyterian  church,  Bloomfield, 
N.J. 

"The  pilgrimage  of  hfe,"  First  Congregational  church,  Montclair,  N.  J. 

"Christ's  admonition  to  Thomas"  window,  Church  of  the  Ascension, 
New  York. 

"Christ  before  the  doctors,"  Lutheran  Church,  New  York. 

"Christ  as  the  True  Vine"  window,  Church  of  Transfiguration,  New  York. 

"The  spirit  of  grace  and  the  spirit  triumphant"  window,  Trinity  Church, 
Lancaster,  Pa. 
17 


130 

"Hope,"  Presbyterian  Church,  Lafayette  avenue,  Brooklyn,  N,  Y. 

"St.  Agnes,"  St.  Andrew's  Methodist  Episcopal  Church,  West  76th  St., 
New  York. 

"Te  Deum"  window,  St.  Paul's  church,  Richmond,  Va. 

"Adoration"  (painting)  over  the  alter,  Trinity  Church,  Ossining,  N.  Y. 

"Virtues  of  the  upright  judiciary,"  panels  in  court  room,  appellate  court 
building,  New  York. 

"Psyche  at  the  spring"  window  in  library  of  J.  P.  Morgan. 

"Greek  dance"  mural  painting  in  the  library  of  Whitelaw  Reid,  New  York. 

Le  Roy,  Anita,  (P.,  I.).  Studied  at  the  Pennsylvania  Academy  of  the 
Fine  Arts,  Philadelphia,  and  under  Whistler  in  Paris.  Has  exhibited  in  the 
large  cities  of  the  United  States.     Member  of  the  Plastic  Club,  Philadelphia. 

A  few  popular  paintings  are : 

"Dutch  canal  and  boat"  "Dutch  fisherman" 

"Dutch  children"  "Dutch  woman  sweeping  snow" 

1/  Leutze,  Emanuel,  (P.)  b.  Emingen,  near  Reuthingen,  in  Wurtemberg, 
Bavaria,  May  24,  1816;  d.  Washington,  D.  C,  July  18,  1868.  When  a  child 
came  to  Philadelphia  with  his  parents.  By  the  sale  of  numerous  drawings, 
he  realized  enough  money  to  carry  him  to  Europe  in  1841.  He  went  to 
Diisseldorf  and  entered  the  academy  there,  and  as  a  pupil  of  Lessing  soon 
acquired  a  name  in  historical  art — a  branch  to  which  all  his  tastes  and  talent 
inclined.  Elected  a  member  of  the  National  Academy  of  Design,  New  York, 
in  1860. 

In  1860  he  received  a  commission  from  Congress  to  decorate  a  stairway 
in  the  National  capitol  building,  and  painted  the  "Star  of  empire."  "This 
painting  stands  quite  alone  in  this  country  as  an  example  of  German  deco- 
rative work."     (Isham.) 

He  painted  a  long  series  of  historical  compositions,  many  of  American 
subjects. 

Among  his  most  dramatic  and  elaborate  pictures  which  have  won  popular 
favor  are: 

"  Washington  crossing  the  Dela-  "  Knox  and  Mary  Stuart " 

ware"  "First  mass  of  Mary  Stuart  in  Scot- 

"  The  settlement  of  Maryland  "  land  " 

"An  Indian  contemplating  the  "Landing  of  the  Norsemen" 

setting  sun"  "Columbus  before  the  queen" 

"The  flight  of  the  Puritans"  "Cromwell  and  his  daughter" 

"Henry  VIII  and  Anne  Boleyn" 

Among  his  portraits  of  eminent  men,  that  of  General  Grant  is  a  fine  example. 
"In  all  his  works,  Leutze  shows  himself  a  typical  Diisseldorfian,  with  the 


131 

enthusiasm  and  admirations  of  the  German  romantic  period,  expressed  in  a 
smooth,  dull  technique." 

He  represents  the  culmination  of  a  certain  type  of  historical  painting  in 
America — ^that  besides  the  story  told,  the  picture  shall  have  a  moral  sig- 
nificance. 

Leutze  resembles  Carlyle — both  teach  hero  worship.     (Tuckerman.) 

Lewis,  Edmoxia,  (S.)  b.  in  the  state  of  New  York.  Descended  from 
both  Indian  and  African  ancestors.  Comparatively  untaught,  she  displayed 
a  natural  genius  for  sculpture  and  in  1865  exhibited  in  Boston  a  portnut- 
bust  of  Colonel  Shaw  which  attracted  much  attention.  In  1867  she  exhibited 
a  statue  called  "The  f reed-woman."  Soon  after  she  went  to  Rome  where 
she  has  since  resided.  She  sent  to  the  Centennial  Exhibition  in  1876  the 
•  Death  of  Cleop&tra  "  in  marble.  Her  ''  Old  arrow-maker  and  his  daughter," 
'Asleep,"  and  terra-cotta  busts  of  Sumner,  Longfellow,  John  Brown  and 
others  are  well-known  to  visitors  <rf  her  studio  in  Rome.  The  Marquis  of 
Bute  bought  her  "Madonna  with  the  Infant  Christ,"  an  alterpiece.  Her 
groups  illustrating  Longfellow's  poem  of  "Hiawatha"  are  charming  bits, 
poetic,  simple  and  natural  and  "no  happier  illustrations  of  Longfellow's 
most  original  poem,  were  ever  made  than  these  by  the  Indian  sculptor." 
(Revolution,  April,  1871.) 

Lie,  Jonas,  (P.)  b.  Norway,  April  29,  1880,  comes  from  a  family  not«d  for 
genius  in  one  form  or  another. 

When  twelve  years  of  age  his  father  died  and  after  spending  a  year  with 
his  famous  uncle  in  Paris,  he  came  to  America  to  join  his  mother  who  was  an 
American  and  he  has  resided  here  ever  since. 

He  attended  evening  classes  of  the  Academy  of  Design  and  also  did  hard 
work  in  the  night  school  of  the  Art  Students'  League.  While  still  a  student 
at  the  academy  he  sent  a  canvas,  "The  gray  day"  to  the  jur\-.  The  picture 
was  accepted  and  well  hung.  Three  years  later  he  sent  a  painting  to  the 
exhibition  of  the  Pennsylvania  Academy  and  it  was  not  only  accepted  but 
purchased  by  WiUiam  M.  Chase.  He  was  awarded  a  silver  medal  at  the  St. 
Louis  Exposition  for  his  "Mill  race,"  and  is  now  represented  in  many  of  the 
best  private  and  pubUc  galleries  in  America. 

Winter  subjects  appeal  to  him  more  than  any  others. 

"  He  likes  best  to  paint  a  snow-coVered  hillside  with  a  gray  leaden  sky. . . . 
There  is  a  force  about  his  work,  a  masterj'  of  composition  which  goes  far  to 

atone  for  an  occasional  artificiahty  of  expression  or  crudity  of  coloring 

He  likes  nature  in  motion  ....  he  likes  the  whirl  of  wind  and  storm  through 
his  pictures  ....  Jonas  Lie  has  found  out  the  secret  of  his  art  which  sends  a 
gale  across  canvas  from  frame  to  frame."     (Craftsman  13:135.) 

This  painter  knows  how  to  handle  bridges. 


132 

Little,  J.  Wesley,  (P.)  b.  Forkville,  Pa.,  August  24,  1867.  Studied  art 
at  the  National  Academy  of  Design,  New  York  and  with  Leonard  Ochtman; 
also  studied  in  Europe  in  1899  and  in  1905.  Is  a  member  of  the  Washington 
Water  Color  Club,  Philadelphia  Sketch  Club,  Philadelphia  Water  Color  Club 
and  Chicago  Water  Color  Club.     Specialty,  landscapes. 

Some  of  his  best  known  pictures  are: 

"A  Dartmoor  border "  " Breakfast " 

"Westman's  wood"  " Green  and  gold " 

"A  Devonshire  lane"  "Parting  day" 

"  Late  pasture  "  "  Under  autumn  skies  " 

"Threshold  of  night" 

LoEB,  Louis,  (P.,  I.,  E.)  b.  Cleveland,  O.,  November  7,  1866;  d.  Canter- 
bury, N.  H.,  July  12,  1909.  An  illustrator,  etcher  and  figure  painter. 
Studied  under  Gerome  in  Paris.  Exhibited  in  the  Paris  salon  of  1895,  and 
received  honorable  mention;  also  third  medal  in  1897,  Hallgarten  prize  of  thie 
National  Academy  of  Design,  New  York,  1902,  and  Webb  prize  of  the  Society 
of  American  Artists,  1903.  Was  elected  associate  member  of  the  National 
Academy  of  Design,  New  York*  in  1901 ;  full  member  in  1906. 

In  his  "Temple  of  the  winds,  sunset"  a  work  of  distinction,  the  drawing 
is  full  of  spirit,  and  the  pure  coloring  and  sense  of  air  and  sunset  light  are  very 
fascinating.  "The  breeze"  was  more  of  a  success,  and  "Morning"  won 
the  Carnegie  prize  in  1905. 

Other  pictures  are: 

"The  siren"  "Blossoming" 

"The  gilt  shawl"  • 

He  painted  symbolical  pictures  in  which  the  landscape  plays  a  great  part. 

LoNGPRE,  Paul  de,  (P.)  b.  Lyons,  France,  April  18,  1855;  d.  Hollywood, 
Los  Angeles,  California,  June  29,  1911. 

At  twelve  years  of  age  he  was  in  Paris  painting  flowers  on  fans,  and  at 
twenty-one  his  first  oil  painting  was  accepted  at  the  salon.  He  came  to  the 
United  States  in  1890  and  in  1896  gave  his  first  exhibition  in  New  York  which 
consisted  entirely  of  floral  subjects.  Three  acres  of  flowers  surround  his 
home  in  Hollywood.  His  father  and  two  brothers  were  also  painters.  Al- 
though Mr.  DeLongpre  's  proper  title  was  Marquis  Paul  Mancherat  de  Long- 
pr6,  closely  related  to  the  ducal  houses  of  De  Luynes  and  De  Chevreuse  and 
descendant  of  the  celebrated  statesman,  the  Marquis  de  Mesmer,  he  desired 
to  be  known  as  a  plain  American  citizen. 

Lopez,  Charles  Albert,  (S.)  b.  Metamora,  Mexico,  October  19,  1869;  d. 
New  York,  May  18,  1906.     Came  to  New  York  when  a  youth.     Studied  in 


133 

the  studio  of  J.  Q.  A.  Ward  in  New  York;  later  studied  with  Falgui^re  and  at 
the  Ecole  des  Beaux  Arts,  Paris. 

He  received  first  prize  in  a  sun  dial  competition;  first  prize  in  a  flag  staff 
competition  in  New  York,  and  first  prize  for  the  ]\IcKinley  monument  at 
Fairmount  Park,  Philadelphia.  He  was  a  member  of  Society  of  American 
Artists;  associate  member  of  National  Academy  in  1906. 

Mr.  Lopez  had  just  completed  the  working  models  for  the  McKinley  me- 
morial when  he  died  from  an  operation.  This  work  was  done  in  collaboration 
with  the  sculptor,  Isidore  Konti. 

LoxGMAX,  Evelyn  Beatrice,  (S.)  b.  Winchester,  O.,  November  31,  1874. 
To  lighten  her  father's  burden  of  caring  for  a  large  family  she  found  em- 
plo\Tnent — at  the  age  of  fourteen — ^in  a  large  wholesale  house  in  Chicago 
and  at  the  same  time  attended  night  school  at  the  Art  Institute.  Six  years 
later  she  went  with  her  sa\*ings  to  Olivet  College,  Michigan,  then  returned  to 
Chicago  after  a  year  and  a  half  to  become  a  pupil  of  Lorado  Taft.  Miss 
Longman  became  a  teacher  and  took  charge  of  the  summer  school  of  model- 
ing. Going  to  New  York  she  worked  with  Hermon  A.  MacNeil  and  Isidor 
Konti,  and  later  became  a  valued  assistant  in  the  studio  of  Daniel  Chester 
French. 

Her  first  piece  of  importance  was  a  "Victory"  which  she  was  chosen  to 
execute  for  the  St.  Louis  Exposition.     Contrary  to  tradition  she  desired 
•Victory"  as  a  male  figure,  and  it  proved  her  victory  in  actual  fact;  it  won 
for  her  a  silver  medal. 

The  bust  of  Kate  Parsenow,  the  German  actress  (called  by  the  sculptor 
"Aenigfaa"),  has  generally  been  accepted  as  one  of  Miss  Longman's  master- 
pieces of  character  stud}'. 

She  has  made  two  remarkable  pairs  of  bronze  doors:  one  for  the  entrance 
chapel  of  the  U.  S.  Naval  Academy  at  Annapohs;  the  other  for  the  library 
building  at  Wellesley  College. 

Jonathan  A.  Rawson,  Jr.,  says  (Int.  studio  45:ciii):  "Mr.  French  with 
just  pride  in  the  renown  that  has  come  to  his  former  pupil  is  fond  of  sajdng 
that  Miss  Longman  is  the  last  word  in  ornament." 

"Miss  Longman's  art  is  noticeable  for  its  refinement  and  strength,  char- 
acteristics infrequently  found  together." 

A  member  of  the  National  Sculpture  Society,  the  American  Numismatic 
Society  and  the  American  Federation  of  Arts;  associate  member  of  the  Na- 
tional Academy  of  Design,  1909. 

In  writing  of  the  winter  exhibition  of  the  National  Academy  of  Design,  a 
well-knoMTi  art  critic  says:  "EveljTi  Beatrice  Longman's  contributions 
were  many  and  dignified ;  they  showed  an  individual  appreciation  of  classic- 
ism which  drove  them  above  servility,  the  classicist's  danger." 
-  Miss  Longman  recently  won  in  competition  the  $50,000  commission  for 
the  design  for  the  monument  to  the  late  Senator  AUison  of  Iowa. 


134 

Low,  Will  Hicok,  (P.,  I.,  Mural  P.,  Stained-glass  designer)  b.  Albany,  N. 
Y.,  May  13,  1853.  Pupil  of  Ecole  des  Beaux  Arts  under  Gerome  and  Carolus- 
Duran  in  Paris.  His  pictures  in  oil  were  exhibited  in  the  Paris  salon.  In 
1881  he  became  a  teacher  in  the  antique  and  life  classes  of  the  Woman's  Art 
School  of  Cooper  Union.  Was  elected  a  member  of  the  National  Academy 
of  Design,  1890.  His  illustrations  of  Keats'  poems  were  exhibited  at  the 
Paris  Universal  Exposition  in  1889,  and  won  a  medal. 

Mr.  Low  acquired  his  first  knowledge  of  stained  glass  from  John  LaFarge 
and  has  since  furnished  cartoons  for  stained  glass  windows  for  many  churches 
and  public  edifices.  He  is  also  one  of  the  best  exponents  of  the  art  of  mural 
painting,  his  ceiling  decorations  of  the  ladies  reception  room  in  the  W^aldorf- 
Astoria  hotel,  New  York,  gracefully  entitled  "Homage  to  woman"  being 
most  noteworthy. 

His  painting  "The  maids  of  Cashmere  "has  for  subject  the  Feast  of  Roses, 
a  charming  oriental  fete  which  Moore  has  pictured  in  "Lalla  Rookh." 

Mr.  Low  has  also  achieved  success  in  literary  pursuits. 

At  a  recent  Chicago  Art  Exhibition  Mr.  Low  made  a  thoroughly  repre- 
sentative disjjlay  of  his  work:  one  hundred  and  forty  drawings,  sketches, 
cartoons  and  easel-pictures.  Features  of  the  display  were  the  monochrome 
illustrations  for  Keats'  "Lamia"  and  "The  odes  and  sonnets,"  and  the 
original  studies  for  the  celebrated  decorations  of  the  ball-room  of  the  Wal- 
dorf-Astoria hotel  in  New  York. 

Lucas,  Albert  Pike,  (P.,  S.)  b.  Jersey  City,  N.  J.  Studied  at  the  Ecole 
des  Beaux  Arts,  Paris,  under  Hebert  and  Boulanger,  1882-8;  also  pupil  of 
Gustave  Courtois  and  Dagnan-Bouveret.  His  works  have  been  exhibited 
at  Paris  and  other  European  cities  as  well  as  at  the  New  York  Academy. 
Received  honorable  mention  at  the  Paris  Exposition  1900.  A  member  of 
the  Soci4t6  Nationale  des  Beaux  Arts,  Paris. 

Mr.  Lucas  has  painted  portraits  of  many  prominent  persons.  His  bust 
"Ecstasy"  is  at  the  Metropolitan  Museum  of  Art,  New  York.  His  "Golden 
madonna  "  is  so  called  from  the  wonderful  golden  light. 

"The  marvel  of  all  this  artist's  work  (painting)  is  his  management  of 
diffused  light.  There  is  never  a  sense  of  the  light  streaming  on  the  can- 
vas reflection  from  wall  or  mirror;  it  comes  out  through  the  painting  and 
radiates  beyond  it  ....  It  is  always  the  lyric  note  in  Mr.  Lucas'  work, 
never  the  dramatic,  the  tragic,  the  morbid."     (Craftsman  19:284.) 

LuKS,  George  Benjamin,  (P.)  b.  Williamsport,  Pa.,  August  13,  1867. 
His  father,  a  physician,  was  a  clever  draughtsman  and  hLs  mother  a  painter 
of  talent.  He  studied  art  at  the  Pennsylvania  Academy  of  the  Fine  Arts 
and  in  Diisseldorf,  Paris  and  London. 

A  radical  worker  in  art,  he  has  a  disdain  for  art  schools  and  consequently 
has  little  or  no  academic  training.     He  is  a  natural  draughtsman,  however. 


Of    THE 

13S  V    -    'T"^ 

and  the  charm  of  accuracy  and  poise  distinguish  his  work.  Most  of  his  work 
has  been  of  the  city  types.  He  finds  his  subjects  in  the  debris  of  the  human 
struggle.  He  is  the  painter  of  the  East  Side  of  New  York.  Luks  sees  artistic 
possibihties  in  the  dock  laborers — both  man  and  animal.  "The  patient 
waiting  horses,  the  gray  overcast  river  and  the  straining  movements  of  the 
men  as  they  work  are  registered  upon  the  canvas  with  astonishing  rapidity 
and  fidelity."     (Craftsman  12:599.) 

In  1907  the  National  Academy  of  Design  refused  at  its  annual  exhibition 
to  accept  a  canvas  of  Mr.  Luks,  notwithstanding  Robert  Henri  made  a  spirited 
appeal  for  recognition  of  this  artist's  work. 

"With  a  grim  and  appalling  psychologic  power  of  a  Gorky  he  paints  crea- 
tures such  as  Higgins  paints,  but  without  Higgins'  dramatic  effects." 

"As  a  painter  he  uses  his  palette  with  a  riotous  disposition  of  tone 

He  sees  nature  with  warmth  and  vitality,  and  his  work  is  full  of  light  and 
shade." 

MacCameron,  Robert  Lee,  (P.)  b.  Chicago,  111.,  January  14,  1866;  d. 
New  York  City,  December  29,  1912.  His  early  boyhood  was  passed  in  the 
wild  forests  of  Wisconsin  where  he  played  with  Indian  children  and  became 
an  expert  rifle  shot.  At  fourteen  years  of  age  he  worked  in  the  log  drive, 
earning  a  man's  wages — $2.50  a  day  and  board — and  was  able  to  save  suffi- 
cient money  to  commence  an  art  career,  taking  lessons  in  the  Y.  M.  C.  A.  of 
Chicago.  Going  to  New  York  he  studied  painting  under  William  ^L  Chase. 
In  1888  he  went  to  London  where  he  found  employment  on  the  staff  of  a 
paper  called  "Boys'  own,"  published  in  the  interests  of  youth.  Later  he 
continued  his  art  studies  at  the  Ecole  des  Beaux  Arts  in  Paris  under  Gerome 
and  Collin,  also  studied  with  Whistler.  Received  gold  medals  in  the  Paris 
salon  of  1905  and  his  works  have  been  hors  concours  since  1907.  He  was 
made  a  member  of  the  National  Academy  of  Design  of  New  York  in  1910 
and  a  chevaUer  of  the  Legion  of  Honor  of  France  in  1912. 

Since  1908  when  his  picture  which  is  popularly  known  as  "The  absinthe 
drinkers"  was  shown  in  the  Paris  salon,  Mr.  MacCameron  has  been  accorded 
recognition  as  one  of  the  most  original  artists  of  the  day. 

"Not  satisfied  to  be  merely  a  clever  painter,  he  aims  at  an  interpretation 
of  abstract  aesthetic  qualities.  He  believes  that  art  should  be  an  interpreta- 
tion of  mental  spiritual  impressions." 

The  recent  presentation  by  J.  P.  Morgan  to  the  IMetropolitan  Museum  of 
New  York  of  the  painter's  "August  Rodin"  speaks  for  the  distinction  in 
which  his  work  is  held.     He  has  painted  portraits  of  many  prominent  persons. 

"Les  habitues"  is  owned  by  the  Memorial  Museum  of  Philadelphia. 

"The  absinthe  drinkers"  was  bought  for  the  Corcoran  Gallery  of  Art, 
Washington,  D.  C. 

"Daughter's  return"  is  in  the  Whistler  room  of  the  Metropolitan  Museum 
of  Art,  New  York. 


136 

'  A  memorial  exhibition  of  his  paintings  was  held  in  New  York  on  January 
28,  1913. 

McCarter,  Hentiy,  (I.)  b.  Norristown,  Pa.,  July  5,  1865.  Began  express- 
ing himself  as  an  illustrator  when  a  boy  student  at  the  Pennsylvania  Academy 
of  the  Fine  Arts.  The  Century  and  the  Magazine  of  Art  accepted  his  first 
work.  Later  he  studied  in  Paris  under  Puvis  de  Chavannes  and  also  came 
under  the  influence  of  Rixens,  Bonnat  and  Alexander  Harrison. 

The  "Lourdes"  of  Zola  was  the  beginning  of  his  important  book  illus- 
trations; also  furnished  notable  drawings  to  illustrate  the  poems  of  Paul 
Verlaine. 

"Mr.  McCarter  seems  essentially  equipped  for  the  pictorial  interpretation 
of  poetry;  he  has  the  most  sentient  appreciation  of  both  delicacy  and  strength 
and  a  love  of  nature  that  is  almost  archaic.  To  these  qualities  he  adds  a 
psychology  of  beauty  that  is  vividly  real  and  through  them  all  he  gets  the 
dramatic  and  forceful  with  still  a  persuasive  grace  and  elusiveness."  (Bkmn. 
ll:244.y 

"A  colorist  of  exquisite  clarity  of  tone,  the  value  of  which  is  apparent  in 
his  black  and  white  medium." 

"He  does  not  so  much  suggest  a  pronounced  individuahty  as  he  conveys 
a  pervasive  identity,  a  conscious  medium  of  nature  and  Ufe." 

His  illustrations  of  Verlaine's  poems,  notably  "Claire  de  Lune"  and  "Le 
piano"  are  veritable  triumphs  of  suggestiveness  in  the  sense  the  French 
symbolist  poets  apply  the  word.  Of  special  technical  interest  was  also  his 
"Easter  hymn." 

Macdonald,  James  Alexander  Wilson,  (S.)  b.  Steuben ville,  O.,  August 
25.  1824;  d.  Yonkers,  N.  Y.,  August  14,  1908. 

A  St.  Louis  publisher  at  the  age  of  thirty  devoted  himself  to  art.  He  made 
the  first  portrait-bust  cut  in  marble  west  of  the  Mississippi — that  of  Senator 
James  T.  Benton  of  Missouri.  After  the  civil  war  he  came  to  New  York 
and  his  bust  of  Charles  O'Connor  is  in  the  appellate  court;  and  that  of  James 
T.  Brady  is  in  the  law  library,  while  his  bronze  statue  of  Fitz-Greene  Halleck 
is  in  Central  Park  and  his  Washington  Irving  in  Prospect  Park,  Brooklyn. 
(American  art  annual,  vol.  7.) 

MacEwen,  Walter,  (P.,  I.  Mural  P.)  b.  Chicago,  111.,  February  13,  1860. 
Pupil  of  Cormon  and  Robert-Fleury  in  Paris.  Received  honorable  mention  in 
Paris  salon  of  1886;  silver  medal,  Paris  Exposition,  1889;  silver  medal,  Lon- 
don, 1890;  gold  medal  from  city  of  Berlin,  1891;  medal  of  honor,  Antwerp, 
1894;  small  gold  medal,  Munich,  1897;  large  gold  medal,  Munich,  1901;  medal 
Vienna,  1902;  Lippincott  prize,  Philadelphia,  1902;  gold  medal,  Liege,  Bel- 
gium; chevalier  of  Legion  of  Honor  of  France;  officer,  1908;  chevalier  Order 
of  St.  Michel,  Bavaria;  officer  Order  of  Leopold,  Belgium,  1909.     Associate 


137 

member  of  National  Academy  of  Design,  New  York,  1903.  First  vice  presi- 
dent of  the  Paris  Society  of  American  Painters. 

''Paints  interiors  with  delicate  Ught,  moist  sea  air  and  monotonous  dunes 
with  laborers  returning  in  the  evening  from  their  work."     (Miither.) 

Successful  in  the  hghting  of  his  subjects  drawn  from  the  private  life  of  the 
Dutch  bourgeoisie,  while  his  portraits  are  excellent — well  drawn  and  well 
painted. 

'•'Woman  of  the  empire "  exhibited  in  the  Paris  salon  of  1903  is  remarkable 
for  its  unusual  finish  rather  than  for  originahty  or  force  of  conception.  "Hol- 
land interior"  and  "The  secret"  are  two  popular  works.  "Phyllis"  is  a 
prize  picture. 

Other  paintings  are: 

' ' The  yellow  robe  "  "The  shepherdess " 

'  •  The  betrothed  "  ' '  At  the  window  " 

''The  secretary'"  "The  letter" 

' '  Judgment  of  Paris  "  "  Confidences  " 

•'Idyl  of  summer"  "Head  of  young  Dutch  ^1" 

"  At  the  burgomaster's  " 

"It  is  MacE wen's  consummate  abihty  to  represent  textures  and  to  produce 
a  soft  harmonious  effect  that  imparts  charm  to  the  canvas."  (Brush  &  P. 
11:.301.) 

His  mural  decorations  in  the  Librarj-  of  Congress  are  a  series  illustrating 
the  stories  of  Greek  heroes.     (Brush  &  P.  19:21.) 

McLaxe,  ^Itrtle  Jeax  (Mrs.  John  C.  Johansen),  (P.,  I.)  b.  Chicago, 
September  14,  1878.  Studied  in  the  Art  Institute,  Chicago,  and  under 
Duveneck  and  Chase.  Has  illustrated  for  Harper's  and  Scribner  s  maga- 
zines.    Studio  residence  is  in  New  York  City. 

Her  "Mother  and  child"  was  awarded  the  Shaw  prize  and  given  a  place 
of  honor  at  the  annual  exhibition  of  the  National  Academy  of  Design,  New 
York;  she  has  also  won  several  other  prizes. 

"Her  work  is  strong,  colorful  and  convincing."     (Art  &  P.  3:612.) 

"On  the  hilltop"  exhibited  at  the  Paris  salon,  was  particularly  attractive. 
"It  wiis  a  bouyant  canvas,  alert  with  the  abounding  wholesomeness  and 
spacious  exhilaration  of  the  upper  air." 

"The  impression  that  her  art  creates  is  of  breadth  of  vision  and  clear  com- 
prehension. These  qualities  are  felt  in  her  standing  portrait  "Girl  in  gray" 
with  which  she  first  attracted  particular  notice." 

"Wholesomeness  is  a  distinguishing  quaUty  of  her  art."   (Harp.  118:291.) 

MacLaughlan,  D0NA1.D  Shaw,  (E.)  b.  Boston,  Mass.,  November  9,  1876. 
Studied  art  with  W.  D.  Hamilton,  later  went  to  Paris  to  continue  his  studies. 


138 

Received  silver  medal  for  etching  at  the  Pan-American  Exposition,  Buffalo, 
1901;  medal  of  honor,  Limoges,  1903;  bronze  medal  at  St.  Louis  Exposition, 
1904.     A  member  of  the  Paris  American  Artists  Society. 

Mr.  Frederick  Wedmore,  in  a  lecture  on  "Etching"  delivered  January 
23,  1911,  before  the  Royal  Society  of  Arts,  said:  "America,  since  Whistler, 
has  given  us  one  etcher  of  importance,  Mr.  MacLaughlan." 

In  the  short  period  of  Mr.  MacLaughlan' s  activity — he  has  been  before 
the  public  less  than  ten  years — he  has  catalogued  more  than  sixty  etchings 
and  dry-points. 

One  of  the  International  studio's  critics  writes:  "Looking  at  the  etchings 
now  reproduced  one  is  quickly  convinced  of  this  truth — that  even  coming 
after  the  greatest  among  the  masters  ....  such  as  Diirer,  Rembrandt,  Callot, 
Meryon,  Whistler,  Seymour-Haden,  Flameng  and  Buhot,  an  artist  endowed 
as  MacLaughlan  is  endowed  with  the  feeling  of  modernity  and  strong  in  his 
impeccable  craftsmanship,  may  yet  be  able  to  add  a  personal  page  to  the 
history  of  engraving." 

Minuteness  added  to  a  broad  and  sure  sense  of  general  effects:  here  in  few 
words  is  the  essence  of  his  art. 

Mr.  MacLaughlan  has  found  his  principal  subjects  in  the  streets  of  Paris, 
although  Parma,  Pavia,  Bologna,  Tuscany,  Roman  Campagna,  Tivoh,  Nea- 
politan district  all  in  turn  have  attracted  him. 

MacMonnies,  Frederick  William,  (S.,  P.)  b.  Brooklyn,  N.  Y.,  Sep- 
tember 28,  1863.  At  the  age  of  sixteen  he  attracted  the  attention  of  Augustus 
Saint-Gaudens  who  received  him  as  an  apprentice  in  his  studio ;  later  he  went 
to  Paris  and  Munich  where  he  spent  some  time  studying  painting  which  he 
considered  so  closely  allied  to  sculpture  as  to  be  a  necessary  preparation. 
On  a  second  trip  to  Europe  he  entered  the  atelier  Falguiere  in  the  Ecole  des 
Beaux  Arts,  also  worked  in  the  private  studio  of  Antonio  Merci^. 

In  Paris  he  speedily  achieved  the  most  gratifying  success,  carrying  off  for 
two  successive  years  the  prix  d' atelier,  the  highest  award  for  which  foreigners 
in  France  may  compete;  also  won  the  first  prize  of  the  National  School  of 
Fine  Arts. 

In  1889  his  first  exhibit,  a  "Diana,"  obtained  honorable  mention  from 
the  Paris  salon.  He  exhibited  in  the  salon  of  1891  the  statues  of  Nathan 
Hale  and  James  S.  T.  Stronahan  and  was  awarded  a  second  gold  medal, 
this  being  the  first  and  only  time  that  an  American  sculptor  has  attained 
that  honor. 

His  "Bacchante  "  was  purchased  by  the  French  government  for  the  Luxem- 
bourg, he  being  the  first  American  sculptor  to  be  so  honored. 

These  were  followed  by  "Pan  of  Rohallion"  and  "Faun  with  heron"  which 
obtained  for  him  such  a  reputation  in  the  United  States  that  he  was  chosen 
to  execute  the  colossal  fountain  of  the  Columbian  Exposition,  containing 
twenty-seven  gigantic  figures. 


139 

Mr.  MacMonnies  has  received  manj'  flattering  recognitions  of  his  gifts, 
inchiding  decorations  of  the  Legion  of  Honor  of  France,  the  cross  of  Saint 
Michael  of  Bavaria,  and  many  awards  in  his  native  land. 

A  member  of  National  Academy  of  Design,  1906. 

Macneil,  Carol  Brooks  (ilrs.  H.  A.  ^lacNeil).  (S.)  b.  Chicago,  111.,  Jan- 
uary 15,  1871.  Pupil  of  Art  Institute,  Chicago,  under  Lorado  Taft;  Mac- 
Monnies and  Injalbert  in  Paris.  Member  of  N.  Y.  Woman's  Art  Club; 
National  Sculpture  Society. 

"She  might  be  called  a  miniature  sculptor,  if  there  is  such  a  phrase,  for  her 
creations  are  not  of  statuesque  proportions.  Portrait  busts  she  has  done 
and  they  are  well  done;  but  her  originality  has  run  rather  to  unique  designs 
for  vases,  inkstands,  fountains  and  other  articles  of  practical  utility."  (W. 
Work  14:9403.) 

Macneil,  Hermon  Atkins,  (S.)  b.  Everett,  Mass.,  February  27,  1866. 
Pupil  of  the  ^lassachusetts  Normal  Art  School  in  Boston,  Chapu  at  Julien 
Academy  and  Falguiere  at  Ecole  des  Beaux  Arts  in  Paris.  On  his  return 
from  Paris  he  went  immediately  to  the  Northwest  where  he  sojourned  with 
the  Indians  making  sketches  for  the  four  bronze  reliefs  that  now  adorn  the 
Marquette  building  in  Chicago.  These  reliefs  sjTnbolize  four  dramatic  in- 
cidents in  the  life  of  Pere  Marquette. 

Mr.  NacNeil  taught  in  the  Art  Institute,  Chicago,  for  a  time  then  he  won 
the  Rinehart  scholarship  and  studied  in  Rome  for  four  j^ears.  He  was  the 
first  instructor  in  drawing  and  modeling  at  Cornell  Universitj^  also  served 
as  instructor  in  Pratt  Institute,  Brooklyn,  in  the  Art  Students'  League  and 
the  Academy  of  Design  in  New  York.  He  has  won  many  medals  and  prizes; 
was  elected  associate  National  Academy  of  Design,  1905;  academician,  1906. 

"The  coming  of  the  white  man"  is  perhaps  the  best  known  of  Mr.  Mac- 
Neil's  Indian  groups,  and  the  ^IcKinley  statue  at  Columbus,  Ohio,  is  the  first 
masterpiece  of  the  kind  that  he  has  produced.     (W.  Work  14:9403.) 

In  1888  he  went  to  Paris  and  in  1890  exhibited  a  bust  in  the  salon.  While 
living  in  Rome  and  working  in  the  Villa  dell' Aurora,  he  produced : 

"The  moqui  runner"  "From  chaos  came  light" 

"A  primitive  chant "  " The  sun  vow " 

Taft  says:  "There  are  few  American  sculptors  who  manipulate  the  clay 
as  charmingly  as  does  Mr.  MacNeil.  His  work  is  full  of  deUghtful  touches 
and  felicitous  passages,  jxt  the  firm  construction  is  never  sacrificed  to  the 

superficial  graces Two  busts  of  women  modeled  by  him  are  among 

the  finest  works  yet  produced  by  an  American — Herbert  Adams  alone  has 
surpassed  the  "Agnese"  ....  "Beatrice"  is  less  beautiful  in  execution." 


140 

Macomber,  Mary  L.,  (P.)  b.  Fall  River,  Mass.,  August  21,  1861.  Pupil 
of  Duveneck  and  Boston  Museum  of  Fine  Arts.     Specialty,  ideal  figures,  i 

With  the  exception  of  a  few  weeks  in  England,  France  and  Holland,  her 
life  has  been  spent  in  the  United  States. 

Her  ancestors  were  New  England  orthodox  with  direct  and  easily  traceable 
line  from  the  Plymouth  Pilgrims.  She  was  shocked  because  the  rehgious 
atmosphere  of  her  earliest  creations  caused  some  to  think  her  a  Roman 
Catholic  and  she  gave  up  the  religious  subjects  of  the  old  masters  and  began 
the  delineation  of  her  ideals  by  means  of  winged  figures  representing  alle- 
gories of  love.  "iThis  style  giving  rise  to  the  charge  of  sentimentality,  she 
abandoned  the  winged  figures  for  her  present  types. 

Many  of  her  pictures  in  recent  years  have  been  in  the  panel  form,  and  as 
decorations  have  proven  highly  satisfactory.  Her  "Hour  of  grace,"  "An 
Easter  carol"  and  "The  magdalen"  are  among  such  works. 

Miss  Macomber's  early  work  shows  the  influence  of  the  Bume-Jones- 
Rossetti-Watts  school  and  in  such  of  her  early  reactions  as  "Memory  com- 
forting Sorrow,"  "Night  and  her  daughter  Sleep,"  her  partiality  to  this 
group  of  idealists  is  plainly  tranceable. 

In  more  recent  years,  however,  her  originality  of  subject  is  unquestioned 
in  such  "as  :  * 

"Springtime"  .  / 

"Life"  '  ''' 

"  Singing  stars  " 

"The  nightingale" 

"Kissed  fruit" 

"Spring" 

(Charles  A.  Parker  in  Int.  studio  47:lxi.) 

Malbone,  Edward  Greene,  (Min.  P.)  b.  Newport,  R.  I.,  August  1777;  d. 
^lay  7,  1807.  "  What  Gilbert  Stuart  was  to  the  larger  portraiture  of  America, 
such  was  Edward  Greene  Malbone  to  the  miniature  work  of  his  native  land." 

From  childhood  he  was  ambitious  to  become  an  artist,  and  at  the  age  of 
seventeen  he  was  working  professionally  drawing  heads  in  miniature;  and  in 
the  spring  of  1796  he  was  fairly  established  as  a  miniature  painter  in  Boston, 
fleeting  Washington  Allston,  a  strong  friendship  was  formed  which  lasted 
during  the  life  of  the  younger  artist.  In  1800  Malbone  and  Allston  went 
south  where  the  former  painted  many  miniatures.  Later  they  went  to  Ijon- 
don  where  Benjamin  West,  then  president  of  the  Royal  Academy,  gave  them 
a  cordial  reception.  Here  Malbone  painted  his  celebrated  picture  known  as 
"The  hours."  It  is  upon  ivory  and  is  exquisite  in  composition  and  color. 
It  is  now  owned  by  the  Athenaeum  at  Providence,  R.  I.  Of  this  achieve- 
ment Benjamin  West  said:  "I  have  seen  a  picture  painted  by  a  young  man 
named  Malbone  which  no  man  in  England  could  excel." 


141 

This  picture  remained  for  nearly  a  hundred  years  an  isolated  example 
of  American  art,  when  its  influence  was  worthily  carried  out  by  Mr.  W.  J. 
Baers'  "Aurora"  and  ''Golden  hour,"  and  the  interesting  figure  pieces  b^'^ 
Lucia  Fairchild  Fuller.  "He  had  the  happy  talent,"  writes  Allston,  "of 
elevating  the  character  without  impairing  the  hkeness."  (Heirlooms  in 
miniatures"  Anne  Hollingsworth  Wharton.) 

Marin,  John,  (P.).  Belongs  to  the  Post-impressionist  movement  in  Paris. 
A  group  of  fifteen  pictures  of  his  were  shown  at  the  ninth  annual  exhibition 
of  the  Philadelphia  Water  Color  Club. 

"He  has  achieved  brilliant  success  in  etching,  showing  much  originality 
and  power  in  his  flexibility  of  Une  and  depth  of  color." 

Marsh,  Fred  Dana,  (Mural  P.)  b.  Chicago,  111.,  April  6,  1872.  Pupil  of 
Art  Institute,  Chicago.  Won  bronze  medal,  Paris  Exposition,  1900;  silver 
medal,  Pan-American  Exposition,  Buffalo,  1901;  bronze  medal,  St.  Louis 
Exposition,  1904.  ^Member  Society  American  Artists.  Associate  National 
Academy  of  Design,  1906. 

His  most  notable  work  is  a  series  of  mural  paintings  symbolic  of  modem 
progress  in  engineering,  executed  for  the  New  York  Engineers'  Club. 

Martin,  Homer  Dodge,  (P.)  b.  Albany,  N.  Y.,  October  28,  1836;  d.  St.* 
Paql,  Minn.,  Februar}-  12,  1897.  Established  a  studio  in  New  York  in  1862. 
Was  elected  member  of  the  National  Academy  of  Design  in  1874.  His  first 
trip  to  Europe  was  made  in  1876  when  he  met  Whistler  who  promptly  recog- 
nized his  qualities  as  a  painter  and  invited  him  to  work  in  his  studio;  he  re- 
sided in  France  during  1882-6. 

Among  his  most  important  works  are: 

"White  Mountains  from  Ran-  "Morning  on  the  Saranac" 

dolph  hill "  "  A  fire-slash  lookout " 

"  Lake  Sanford  "  "  A  lake  in  the  wilderness  " 

"  Honfleur  fights  "  "  Evening  on  the  Thames  " 

"  Source  of  the  Hudson  "  "  Sand  dunes  of  Lake  Ontario  " 

"Old  Normandy  manor"  "The  sun  worshippers" 

"  The  mussel  gatherers  "  "  Golden  sands  " 
"  On  the  Seine  "     (Harp  of  the 
winds) 

"Winchester  hills"  and  "Adirondack  scenery"  are  considered  his  master- 
pieces. His  painting  "The  old  church  at  Criqueboeuf" — Normandy  land- 
scape— has  been  called  by  Boutet  de  Monvel,  the  well-known  French  painter, 
"the  greatest  landscape  ever  painted  in  America."  He  further  declared 
that  it  was  equal  to  the  best  of  Rousseau's  work,  and  yet  was  unlike  anything 
that  Rousseau  had  done. 


142 

During  his  lifetime  his  pictures  did  not  sell  or  were  purchased  by  admiring 
friends,  among  whom  were  artists,  critics,  editors,  poets,  musicians,  physi- 
cians and  bankers,  but  now  it  is  practically  impossible  to  buy  a  really  im- 
portant example  of  his  work. 

"The  harp  of  the  winds,"  "The  Normandy  farm,"  and  "The  Adirondacks" 
were  painted  after  he  was  practically  blind;  the  optic  neme  of  one  eye  was 
dead  and  a  cataract  partly  clouded  the  other.  The  story  of  his  failure  to 
interest  the  buying  public  together  with  ill-health  and  approaching  blindness, 
is  most  pathetic.  He  never  looked  with  bitterness  on  the  success  of  men 
far  inferior  to  himself. 

"His  work  is  that  of  a  poet  painter,  but  of  one  who  felt  more  deeply  the 
grandeur  of  mountain  scenery  than  he  did  the  pastoral  beauty  of  simple 
scenes."  "More  than  one  critic  has  accorded  to  Martin  the  highest  rank 
among  the  poet  painters  of  American  landscape."     (Nat.  Cyc.  Am.  Biog.) 

Hartmann  says:  "He  was  one  of  the  men  who  brought  our  landscape 
art  to  its  highest  pinnacle  of  perfection." 

Liibke  says:  "It  was  in  his  study  that  his  composition  was  made  and 
it  was  there  that  he  produced  those  astonishing  pieces  of  truth  in  the  anatomy 
of  hillside  and  rocky  chff  in  which  no  landscape  painter  has  ever  surpassed 
him." 

Maynard,  George  W.,  (Mural  P.,  I.)  b.  Washington,  D.  C,  March  5,  1843. 
A  student  at  the  National  Academy  of  Design,  New  York,  in  1868.  A  year 
later  he  went  to  Antwerp  where  in  company  with  Francis  D.  Millet  he  entered 
the  Royal  Academy  of  Fine  Arts  and  studied  under  Van  Lerius.  After  four 
years  in  the  academy  and  the  museums  of  Belgium,  he  and  his  friend  made 
a  trip  through  central  and  southern  Europe,  returning  to  New  York  in  the 
spring  of  1874.  The  following  year  he  became  assistant  to  John  LaFarge 
in  company  with  Saint-Gaudens,  Millet  and  Lathrop  in  the  interior  decoration 
of  Trinity  Church,  Boston,  the  first  important  work  of  this  character  done  in 
America,  the  merit  of  which  has  hardly  been  excelled. 

In  1877  he  again  visited  iEurope,  making  a  special  study  of  mural  painting. 
He  was  elected  associate  member  of  the  National  Academy  of  Design,  New 
York,  in  1881,  full  member  in  1885.  Taught  drawing  for  many  years  in  the 
schools  of  Cooper  Institute  and  at  the  Academy. 

In  1884  he  won  the  Temple  gold  medal  at  Philadelphia,  and  in  1888  the 
American  Art  Association  medal  of  honor  was  awarded  to  him  by  the  artist 
exhibitors.  His  picture  "Sappho"  was  purchased  by  the  Pennsylvania 
Academy  of  the  Fine  Arts  in  1889  and  "Sirens"  won  the  Evan  prize. 

Among  his  numerous  pictures  are: 

"  The  angelus  "  "  Strange  gods  " 

"  Water  carriers  of  Venice  "  "  Old  and  rare  " 

"An  ancient  mariner" 


143 

Meabs,  Helex  Fakxsworth,  (S.)  b.  Oshkosh,  Wis.,  1876.  Studied  art 
in  New  York  and  Paris;  lat^r  was  an  assistant  of  Augustus  Saint-Gaudens. 

Her  first  success  was  "Genius  of  war."  This  was  followed  by  "The  foun- 
tain of  life  "  and  busts  of  George  Rogers  Clark  and  Dr.  William  L.  G.  Morton 
and  portrait  reliefs  of  Augustus  Saint-Gaudens,  Louise  Collier  Willcox  and 
Edward  A.  ]McDowell. 

Miss  Clears'  most  notable  work  was  the  execution  of  the  statue  of  the  late 
Frances  E.  Willard  placed  in  the  Hall  of  Statues  in  the  capitol  at  Washington, 
and  unveiled  on  Februan.'  17,  1908.  This  is  the  first  statue  of  a  woman  by  a 
woman  to  be  placed  in  the  building. 

Melchers,  J.  Gari,  (P.)  b.  Detroit,  Mich.,  August  11,  1860.  At  the  age 
of  seventeen  he  went  to  Germany,  studying  art  in  Diisseldorf  under  Van 
Gebhardt:  later  he  studied  under  Lefeb^Te  and  Boulanger,  also  at  the  Cour 
Yvon  (famous  class  at  Ecole  des  Beaux  Arts),  Paris;  aft€r  this  took  up  his 
residence  in  Holland  and  has  a  studio  at  Egmond-aan-Zee. 

Mr.  ilelchers  has  received  many  honore  in  recognition  of  his  fine  artistic 
ability.  He  is  a  chevalier  of  the  Legion  of  Honor  of  France;  Knight  of  the 
Order  of  St.  Michael,  Bavaria ;  Knight  of  the  Red  Eagle,  Germany,  and  has 
received  honorable  mention  in  the  Paris  salon;  also  won  medals  of  honor 
from  Amsterdam,  Antwerp,  ^lunich  and  Vienna;  he  is  a  member  of  the  In- 
ternational Society  of  Artists,  London;  The  Secessionists,  Munich;  Societe 
Nationale  des  Beaux  Arts,  Paris,  and  professor  at  the  Grand-Ducal  Academy 
of  Art  in  Weimar.  Elected  associate  member  of  the  National  Academy  of 
Design,  New  York,  in  1904;  fuU  member  in  1906.  First  vice  president  of  the 
Paris  Society  of  American  Painters. 

He  is  an  American  artist  who  has  received  more  recognition  abroad  than 
at  home.  His  fii-st  efifort  in  Dutch  painting,  "The  sermon"  won  honorable 
mention  in  the  Paris  salon  of  1886.  In  1889,  when  twenty-eight  years  old 
he  received  the  blue  ribbon  of  art — a  medal  of  honor  in  Paris.  Only  three 
American  painters  have  won  this  coveted  distinction — WTiistler,  Sargent  and 
Melchers. 

His  "Family"  hangs  in  Berlin;  "Maternity"  in  the  Luxembourg;  "The 
ship  builder"  in  Dresden;  "^lan  with  the  cloak"  in  Rome;  "Supper  at 
Emmaus"  is  owned  by  theKrupp  family;  "Girl  in  church"  is  in  the  Royal 
Gallerj',  Munich. 

Brinton  says  in  "Modem  artists":  "It  is  not  alone  the  homely  pictures- 
queness  of  peasant  or  fisherman,  the  vast  mottled  skies,  or  the  play  of  con- 
stantly diffused  light  which  attract  him  to  Holland.  It  was  also  the  st«rhng 
artistic  tradition  of  the  countr}-  itself." 

His  frescoes  "Peace"  and  "War"  in  the  Librarj'  of  Congress  at  Wash- 
ington share  with  Sargent's  frieze  "The  prophets"  in  the  Boston  Public 
Library,  the  distinction  of  being  the  finest  frescoes  in  America. 


J.   C.ARI  MELCHERS. 


145 

Landscape  painting  is  Mr.  Melcher's  relaxation — "Green  summer,"  "The 
arbor,"  "Winter,"  "Under  the  trees,"  are  studies  in  sunlight  and  reflection. 

Melchers  was  the  first  artist  to  apply  for  permission  to  copy  the  Botticelli 
frescoes  when  they  were  put  in  the  Louvre. 

He  has  painted  a  great  many  portraits  in  America  and  abroad.  Caffin 
says:  "Melchers  is  a  searching  analyst,  stating  without  comment  of  his 
own,  exactly  what  he  sees,  but — he  sees  below  the  surface." 

Among  his  finest  works  are: 

"  Married  "  "  Little  Constance  " 

' '  Sainte  Gudule  "  "  Penelope  " 

"  The  communion  "  "  Child  in  church  " 

"  Stevedore  "  "  The  green  mantle  " 

"  The  skaters  "  "  Mother  and  child  " 

"  A  Holland  lady  "  "  Pilots  " 

' '  A  fencer  "  ' '  Young  mother  " 

"Audrey"  "The  kiss" 

"The  nativity"  "Sailor  and  his  sweetheart" 

"  The  bride  "  "  The  china  closet " 

' '  The  wedding  "  ' '  The  Delft  horse  " 

"Vespers" 

"The  work  of  Mr.  ^lelcher  is  full  of  that  essential  quaUty — personahty." 
(C.  Lewis  Hind  in  World's  Work   15:10092.) 

Merritt,  Axxa  Lea,  (E.)  b.  Philadelphia,  Pa.  Began  painting  at  the  age 
of  twenty-one  and  never  had  the  advantage  of  academic  training.  Traveled 
four  yeai*s  on  the  continent  with  her  parents  and  sisters,  and  in  1871  she  ex- 
hibited her  first  picture,  a  portrait,  at  the  Royal  Academy  London.  Since 
then  she  has  been  a  constant  exhibitor  at  that  institution.  Is  a  member  of 
the  Society  of  Painter-Etchers,  London.  She  married  Henrs^  Merritt,  artist 
and  author,  London,  who  died  within  a  few  months,  and  it  was  to  furnish 
by  her  own  hand  etchings  for  a  memorial  work  to  her  husband  that  she  learned 
to  etch.  «4| 

Mrs.  Merritt  is  one  of  the  few  women  in  this  country  who  have  etched  the 
human  figure.  Her  portraits  of  her  husband.  Sir  Gilbert  Scott,  the  celebrated 
architect,  Louis  Agassiz,  Lady  Dufferin,  Oliver  Wendell  Holmes  and  others 
rank  among  the  best  of  modem  etched  portraits. 

"She  has  executed  many  charming  plates,  principally  portraits  of  dis- 
tinguished men  and  women  of  the  time,  with  an  occasional  plate  of  river 
scenerj-,  landscape  or  interpretation  of  her  own  paintings.  Her  vigorous 
portraits  of  Miss  Ellen  Terry  and  a  large  head  of  Mr.  Leslie  Stephens  are 
striking  examples  of  good  etching." 
19 


146 

Metcalf,  Willard  Leroy,  (P.)  b.  Lowell,  Mass.,  July  1,  1858.  Educated 
in  the  public  schools  of  Massachusetts;  apprenticed  to  a  wood  engraver  of 
Boston  in  1875;  then  to  George  L.  Brown,  a  landscape  painter,  Boston, 
1876-7.  Student  in  Lowell  Institute,  Boston  Normal  Art  School,  Boston 
Art  Museum  School,  Acad^mie  Juhen,  Paris;  also  studied  under  Boulanger 
and  Lefebvre  in  1883.  Represented  in  the  leading  art  galleries  of  the  United 
States.  Received  the  Webb  prize,  Society  of  American  Artists,  1896,  and 
awarded  the  Temple  gold  medal,  Pennsylvania  Academy  of  the  Fine  Arts, 
also  Corcoran  gold  medal;  member  of  the  Ten  American  Painters. 

Mr.  Metcalf  is  numbered  among  the  foremost  of  the  American  landscape 
painters.  During  his  six  years'  study  in  Paris  his  most  successful  picture 
was  the  "Arab  market"  which  received  honorable  mention  in  the  Paris 
salon  in  1889.  Most  of  his  painting  is  portrait  work;  taught  antique  and  life 
classes  at  the  Cooper  institute.  Traveled  in  the  west  two  years  with  Frank 
Cushing,  getting  the  benefit  of  his  profound  knowledge  of  the  Indians. 

Well-knowm  works: 

"A  family  of  birches"  "Golden  screen" 

"  May  night "  "  Mid-winter  " 

"  Unfolding  buds  "  "  The  snow  bearers  " 

"  Spring  fields  "  "  Green  canopy  " 

"Icebound"  .    "  The  white  veil " 

"Light  and  air  are  to  him  matters  of  serious  concern,  but  also  are  form 
and  motion.  UnUke  the  majority  of  those  who  follow  the  impression- 
ists teachings,  he  cares  not  merely  for  the  effect  of  sunlight  but  for  the 
object  upon  which  the  sunlight  falls,  and  paints  now  always  in  a  high  key." 
(Int.  studio  39:8.) 

Mr.  Metcalf  is  quite  remarkable  in  the  field  of  flower  painting. 

By  general  consent  Mr.  Metcalf 's  "Trembling  leaves"  has  been  labeled 
"notable." 

MiELATZ,  Charles  Frederick  William,  (E.)  b.  Buddin,  Germany,  May 
24,  1864.     Pupil  of  National  Academy  of  Design,  New  York,  and  F.  Rondel. 

Member  of  the  International  Jury  of  Awards,  St.  Louis  Exposition,  1904; 
member  of  New  York  Etching  Club ;  was  elected  associate  member  of  National 
Academy  of  Design,  New  York,  1906.     Teacher  of  etching  in  the  academy. 

A.  L.  Baldry  says  in  "Modem  etching"  that  Mr.  Mielatz  "possesses  a 
power  of  rendering  a  great  variety  of  subject-matter  with  success.  Bulk 
and  masses  of  architecture,  characteristics  of  street  people  and  buildings, 
he  sets  down  always  with  grace  and  conviction." 

Miller,  Richard,  (P.)  b.  St.  Louis,  Mo.,  March  25,  1875.  Mr.  Miller  is 
an  American  painter  who  lives  in  France  and  has  attained  many  of  the 


147 

artistic  honors  that  France  and  America  bestow.  Pupil  of  St.  Louis  School 
of  Fine  Arts,  Benjamin-Constant  and  Laurens  in  Paris.  Received  third-class 
medal  in  Paris  salon  of  1900;  second-class  medal  in  Paris  salon  1904;  hors 
concours  in  salon  of  Societe  des  Artistes,  France,  1905.  ChevaUer  of  Legion 
of  Honor;  second  \ice  president  of  Paris  Societj'  of  American  Painters. 

His  early  work  was  in  quiet  greys;  later  work  is  of  night  scenes  and  incidents 
on  the  boulevards. 

"That  his  work  is  admired,  there  is  ample  proof  by  its  reception  in  the 
Paris  salons,  the  galleries  in  Munich,  Venice,  Berlin  and  the  collection  of 
H.  M.,  the  King  of  Italy,  besides  the  principal  exhibitions  in  his  own  country-." 
(Int.  studio  43:263.) 

Well-known  paintings : 

"The  toy  merchant "  "Chinese  coat " 

"In  the  garden "  " Le  cafe " 

"The  mirror "  " Portrait  of  Mre.  Miller " 

Millet,  Francis  Davis,  (P.  I.,  Mural  decorator)  b.  Mattapoisett,  Mass., 
November  3,  1846.  Lost  his  hfe  in  the  S.  S.  Titanic  disaster,  April  15,  1912. 
Pupil  of  the  Roj'al  Academy  of  Arts  in  Antwerp  imder  VanLerius  and  De 
Keyser. 

Received  silver  and  gold  medals  of  honor,  1872  and  1873,  at  the  Royal 
Academy,  Antwerp;  silver  medal,  Paris  Exposition,  1889;  chevalier  of  the 
Legion  of  Honor  of  France.  Was  special  correspondent  for  the  "Daih* 
News  "  during  the  Russo-Turkish  war,  1877.  For  this  work  he  received  the 
Roumanian  Iron  Cross  and  the  Order  of  Chevalier  St.  Anne  and  of  St.  Stanis- 
laus from  the  Russian  government.  Special  correspondent  of  the  "London 
Times  "  at  Manila  during  Spanish  war.  Director  of  decorations,  Columbian 
Exposition,  Chicago,  1893.  Member  of  the  National  Academy  of  Design 
since  1885. 

He  was  vice-chairman  of  the  Federal  committee  of  Fine  Arts  as  well  as 
secretary  and  executive  officer  of  the  American  Academy  in  Rome.  He 
organized  the  American  Federation  of  Arts  and  was  its  secretarj*  from  the 
beginning. 

Mr.  Millet  has  painted  a  number  of  portraits,  the  most  important  being 
those  of  Charles  Francis  Adams,  Jr.  and  Samuel  L.  Clemens  (Mark  Twain) 
both  exhibited  at  the  National  Academy  of  Design,  New  York,  in  1877. 

A  few  of  his  paintings  in  oil  are: 

"  Off  duty  "  "  A  cosy  comer  " 

^' How  the  gossip  grew"  "A  handmaiden" 

"  A  difficult  duet "  "  Piping  times  of  peace  " 

"  Love  letter  "  "  The  black  sheep  " 

"  Wandering  thoughts  "  "  Between  two  fires  " 

"Fireside  companions"  "Rook  and  pigeon" 

"Lucky  at  cards,  unlucky  in  love" 


148 

"Mr.  Millet  does  not  revel  in  painting  considered  as  being  by  itself  one 
of  the  fine  arts;  his  intention  is  almost  as  much  literary  as  it  is  artistic;  an 
episode  of  life,  an  anecdote,  a  state  of  soul  rendered  manifest  in  a  pleasing 
manner  and  in  the  midst  of  curious  and  amusing  accessories,  studied  with 
the  minuteness  and  neatness  of  touch  of  the  later  old  Dutch  masters — such 
is  Mr.  Millet's  conception  of  his  art."     (Child's  "Art  and  criticism.") 

"In  his  pictures  of  episode  he  reveals  the  situation,  not  by  acting  but  by 
suggesting  it;  therefore  they  have  the  charm  of  repose.  His  canvases  have 
incipient  or  completed  action — rarely  the  suspended  motion  that  tires  us  by 
its  arrest  or  vehemence." 

His  "  Thesmophoria  "  or  harvest  feast,  in  a  Pittsburgh  bank,  is  a  fine  piece 
of  mural  painting. 

"Fine  as  his  easel  pictures  are,  it  is  as  a  great  mural  painter  that  his  fame 
will  last.  His  masterpiece  is  his  monumental  work  for  the  Baltimore  custom 
house — "The  evolution  of  navigation."     (Art  &  P.,  3:635.) 

Minor,  Robert  Crannell,  (P.)  b.  New  York  City,  1840;  d.  Waterford, 
Conn.,  August  3,  1904. 

First  entered  a  business  career  but  later  decided  to  become  a  painter. 
He  studied  painting  for  two  years  under  Alfred  C.  Howland,  then  went  to 
Europe,  studying  with  Van  Luppen  and  Boulanger  in  Holland  and  Belgium. 
After  three  years  in  Paris  he  joined  the  colony  at  Barbizon  where  he  was 
more  or  less  under  the  personal  influence  of  Diaz  and  Corot.  In  1872  he  ex- 
hibited "The  sUent  lake"  in  the  Paris  salon,  then  spent  two  years  in  England 
during  which  time  he  exhibited  at  the  Royal  Academy  and  Grosvenor  Gallery. 

"Moonlight"  secured  honorable  mention  at  the  Paris  Exposition  and 
"Close  of  a  day"  won  a  bronze  medal. 

Among  his  best-known  paintings  are: 

"  Studio  of  Corot "  "  Under  the  oaks  " 

"  Wold  of  Kent "  "  Cradle  of  the  Hudson  " 

"  Mountain  path  "  "  Gray  day  in  September  " 

Coffin  wrote  of  his  work:  "Poetic  sentiment  with  fine  resonant  color 
effects  are  found  in  the  landscapes  of  Robert  C.  Minor  who  is  an  avowed 
'Barbizon  man'  ....  Simplicity  of  subject  and  completeness  of  composition 
are  the  main  factors  in  his  creations  and  particularly  in  sunset  and  in  twilight 
effects  does  he  appear  as  a  sympathetic  interpreter  of  nature's  subtle  changes." 

Mr.  Minor  was  vice  president  of  the  Soci6t^~Artistique  litteraire  of  Ant- 
werp, president  of  the  Salamagundi  Club  in  1898  and  elected  a  member  of 
the  National  Academy  of  Design  in  1897. 

Mitchell,  John  James,  (E.,  P.)  b.  New  York,  1845,  Lived  abroad  from 
1867-70,  studying  architecture  which  profession  he  practiced  in  Boston  until 


.149 

1876.  In  that  year  he  again  went  to  Europe  and  devoted  himself  to  the 
study  of  drawing  and  painting  under  Boulanger  and  Lefebvre  and  Albert 
Maigman  until  his  return  in  September  1880.  His  first  efforts  in  etching 
were  made  in  Boston  but  he  did  not  begin  the  practice  of  this  art  until  1876 
when  he  received  instruction  from  Brunet-Dehaines,  one  of  the  best  French 
etchers  of  our  day:  he  learned  from  him  a  deUcacy  and  refinement  in  the 
management  of  his  tools  which  stood  him  in  good  stead  in  several  series  of 
small  figure  subjects  published  some  time  ago  in  Paris.  He  is  especially 
clever  if  at  times  a  bit  theatrical  in  his  management  of  strong  floods  of  light." 
{Century  3:497.) 

Monks,  Johx  Alstix  Sands,  (P.,  E.)  b.  Cold  Springs-on-Hudson,  N.  Y., 
November  7,  1850.     Pupil  of  George  X.  Cass  and  George  Inness. 

As  a  young  man  he  was  an  engraver,  but  after  a  trip  to  Boston  he  took  up 
landscape  painting.  Inness  saw  his  study  of  an  old  willow  tree,  sent  for  him 
to  come  to  his  studio  and  later  in\'ited  him  to  become  his  pupil.  "Not  only 
has  he  painted  sheep  indoors  and  out,  at  play,  sleeping  in  sunshine,  in  twi- 
light, but  he  has  modeled  them  in  clay."  He  has  also  painted  the  sheep  of 
the  various  localities  in  this  countr\'  until  he  has  become  known  as  America's 
painter  of  sheep."     (Craftsman  22:619.) 

"Mr.  Plonks  studied  his  sheep  from  the  standpoint  of  a  practical  farmer 
as  well  as  a  poet  and  painter,  hence  the  solid  construction  of  his  pictures, 
and  the  con\incing  reaUty  of  eveiy  incident  and  detail  of  their  action  and 
en^■ironment. 

"As  a  painter  of  sheep  this  finely  trained  artist  has  attained  a  masterj- 
that  allows  him  to  speak  the  whole  art  language  through  the  vehicle  of  the 
simple  life  incidents  of  these  most  humanly  suggestive  of  our  domestic  ani- 
mals."    (New  Eng.  M.  42:755.) 

Mora,  Francis  Luis,  (P.,  I.,  Mural  P.)  b.  Monte\'ideo,  Uruguay,  July  27, 
1874.  Received  his  art  education  in  the  School  of  the  Boston  Museum  under 
Benson  and  Tarbell  and  at  the  Art  Students'  League  of  New  York  under 
Mowbray.  Beginning  about  1892  he  did  illustrating  work  for  all  the  leading 
magazines  and  periodicals.  He  has  won  many  prizes  and  medals  and  is  a 
member  of  the  leading  art  organizations:  an  associate  member  of  the  National 
Academy  of  Design.  1904,  academician,  1906.  For  nine  years  was  a  teacher 
in  drawing  and  painting  classes  of  the  New  York  School  of  Art. 

Mr.  Mora's  father  was  a  Spanish  painter,  his  mother  a  Frenchwoman  and 
his  early  life  was  spent  in  South  America.  "Perhaps  it  is  these  ver\'  con- 
flicting conditions  in  the  life  of  Mr.  Luis  Mora  that  has  evolved  the  unusual 
quality  of  his  art,  an  art  essentiallj'  Spanish  in  subject  and  feeling  and  wholly 
modem  and  American  in  expression  ....  The  quality  of  Mr.  Mora's  paint- 
ings of  gaixlens  is  a  thing  one  returns  to  again  and  again  in  memory  as  one 
likes  to  see  them  over  and  over  again  in  his  studio  ....  In  these  gardens 


150 

there  is  Spain's  past  magnificence The  women  are  slow-moving 

and  graceful,  the  children  joyous,  and  behind  all  the  radiance  of  these  fine 
silent  gardens  hovers  the  shadow  of  a  tragic,  barbaric  nation."  (Crafts- 
man 17:402.) 

"Picnic  on  the  beach"  is  a  most  affirmative  picture,  capital  in  fresh  white 
and  blue,  composed  with  utmost  wisdom  of  technique,  but  efflorescent  with 
nature  both  in  composition  and  in  gaiety  of  spirit."     (Int.  studio  35:lii.) 

MoRAN,  Edward,  (P.)  b.  Bolton,  Lancashire,  England,  August  19,  1829;  d. 
New  York,  June  9,  1901.  Elder  brother  of  Peter  and  Thomas  Moran.  He 
arrived  in  Philadelphia  in  1844  and  was  a  pupil  of  James  Hamilton,  marine 
painter,  and  of  Paul  Weber,  landscape  painter.  Went  abroad  in  1862, 
studying  in  the  Royal  Academy  of  London  for  a  few  months.  In  1869 
settled  in  New  York,  going  to  Paris  in  1877  where  he  lived  some  time.  He 
was  a  member  of  Pennsylvania  Academy  of  the  Fine  Arts  and  was  elected 
associate  member  of  the  National  Academy  of  Design,  New  York,  in  1873. 

His  first  pictures  were  exhibited  in  Philadelphia  in  1853.  The  Baltimore 
Gazette,  July  1,  1873,  in  commenting  on  Mr.  Moran's  painting  entitled  "In 
the  narrows,"  said:     "The  great  charm  of  the  picture  is  motion." 

He  printed  in  1872  the  first  illustrated  catalog  printed  in  this  country. 
He  worked  chiefly  in  marines,  in  both  oil  and  water-color. 

A  series  of  historical  paintings,  thirteen  in  number,  was  completed  in  1899. 
These  represent  thirteen  epochs  in  the  marine  history  of  America  from  the 
landing  of  Leif  Erickson  in  1001  to  the  return  of  Admiral  DeM^ey  in  1899. 

Moran,  Mary  Nimmo,  (E.,  P.)  b.  Strathaven  near  Glasgow,  Scotland, 
1842;  d.  September,  1899.  Came  when  a  child  with  her  family  to  the  United 
States.  In  1863  she  married  Thomas  Moran,  the  well-known  landscape 
painter;  in  1867  accompanied  him  to  England,  France  and  Italy  and  in  1874 
traveled  with  him  in  the  far  west.  Her  work  was  principally  water-color 
until  in  1879  when  she  made  her  first  attempts  in  etching  as  a  pastime  during 
her  husband's  absence  on  an  extended  trip  through  the  west. 

Mrs.  Schuyler  Van  Rensselaer  says  ^Irs.  Moran  found  her  true  artistic 
voice  only  when  she  took  up  the  etching  needle.  In  1887  an  exhibition  of 
the  work  of  the  women  etchers  in  America  was  held  at  the  i\Iuseum  of  Fine 
Arts,  Boston,  and  while  Miss  Gabrielle  D.  Clements,  ^liss  Mary  Cummings 
Brown,  Mrs.  f]dith  Loring  Peirce  Getchell,  Mrs.  Eliza  Greatorex,  Mrs.  Anna 
Lea  Merritt,  Miss  Margaret  M.  Taylor,  and  sixteen  other  talented  women 
were  represented,  Mrs.  Mary  Nimmo  Moran  took  rank  both  in  number  and 
quality  of  plates.     This  position  she  held  until  the  time  of  her  death. 

Her  "Twilight"  is  a  plate  of  extraordinary  power  and  beauty.  "East- 
hampton  Barren"  which  possesses  a  poetic  charm,  and  "Bridge  over  the 
Delaware"  (her  first  plate)  are  two  of  the  four  original  etchings  made  in  1879 
that  were  sent  to  the  New  York  Etching  Club  and  which  gained  her  recogni- 


I 


151 

tion  as  a  master  of  the  needle.  "Solitude"  is  one  of  her  best,  as  it  is  one  of 
her  strongest  etchings.  "Goose  pond"  was  the  diploma  etching  that  secured 
her  election  to  the  Society  of  Painter-Etchers,  London.       (Brush  &  P.  8:3.) 

"In  etching,  Mrs.  ^loran  finds  a  language  that  accords  entirely  with  her 
ideas  and  modes  of  expression.  She  treats  her  subjects  with  poetical  disdain 
of  detail,  but  with  a  firm  grasp  of  the  leading  truths  that  give  force  and 
character  to  her  work.  While  her  etchings  do  not  display  the  smoothness 
that  comes  from  great  mechanical  dexterity,  her  touch  is  essentially  that  of 
the  true  etcher."     (Koehler's  "American  Etchings.") 

"Her  etchings  are  marked  by  energetic  emphasis  and  bold  directness 
rather  than  delicacy  or  smoothness."     (Scrib.  46.) 

MoRAN,  Peter,  (E.,  P.)  b.  Bolton,  Lancashire,  England,  March  4,  1842. 
Brought  to  America  by  his  parents  when  three  years  of  age.  "WTien  sixteen 
he  was  apprenticed  by  his  father  to  learn  the  trade  of  lithographic  printing 
in  Philadelphia.  Later  devoted  himself  to  painting,  becoming  in  1859  the 
pupil  of  his  brothers — landscape,  with  Thomas,  and  marine,  with  Edward. 
He  studied  the  works  of  Lambinet  and  those  of  Troyon  and  Rose  Bonheur 
for  animal  painting,  which  subject  chiefly  attracts  him.  His  plate  called 
"The  return  of  the  herd,"  may  possibly  be  called  his  best. 

Since  1875  has  devoted  much  time  to  etching,  and  reached  the  first  rank 
in  that  branch  of  art.     His  etching  "Chariot  race  in  the  Circus  Maximus" 
is  a  masterpiece,  and  is  considered  one  of  the  most  important  of  the  kind 
produced  in  America. 
A  few  of  his  original  plates  are: 

"Low  tide  on  the  Schuylkill"  "An  old  New  England  orchard" 

" A  burro  train "  "Passing  storm" 

"An  August  day"  "A  summer  afternoon" 

Of  the  last  three,  Mrs.  Schuyler  Van  Rensselaer,  the  distinguished  art- 
critic,  wrote:  "If  we  will  ask  for  pictures  from  our  etchers,  Ave  should  re- 
joice when  they  give  them  to  us  of  so  complete  a  kind  and  yet  with  so  much 
of  the  intrusive  charm  of  etching,  properly  so-called,  as  does  Mr.  Peter  Moran." 

To  Peter  Moran  and  his  brother,  Thomas,  belong  the  honor  of  having 
been  the  first  among  the  artists  to  recognize  the  picturesque  qualities  of  the 
scenery  of  the  southwest,  and  of  the  life  of  its  aboriginal  inhabitants — the 
Pueblo  Indians. 

Jules  Breton,  the  distinguished  French  painter,  on  seeing  some  of  Mr. 
Moran's  etchings  exhibited  in  Paris,  exclaimed:  "The  man  who  etched 
those  plates,  is  a  master!" 

MoRAx,  Thoal\s,  (P.,  E.,  I.)  b.  Bolton,  Lancashire,  England,  January  12, 
1837.     Came  with  his  family  to  America  in  1844,     Of  the  talented  Moran 


152 

family,  he  displayed  artistic  tastes  at  an  early  age  and  was  apprenticed  to  a 
wood-engraver  in  Philadelphia,  remaining  with  him  fo-r  two  years.  At 
twenty-three  he  painted  a  scene  from  Shelly's  "Alastor"  and  from  1866-71 
studied  the  masters  of  France,  Italy  and  Germany.  Returning  to  America 
in  1871,  he  sought  subjects  of  the  most  impressive  character,  and  joined  the 
exploring  expedition  of  that  year  to  the  Yellowstone  country,  making  sketches 
for  his  two  great  works,  "The  great  canyon  of  the  Yellowstone"  and  "The 
chasm  of  the  Colorado."  These  were  bought  by  Congress  for  $10,000  each 
and  are  now  in  the  Capitol  at  Washington. 
Noted  paintings  are: 

"The  movmtain  of  the  Holy  "The      groves      were      God's      first 

Cross  "  temples  " 

"The  cliffs  of  the  Green  river"  "A  dream  of  the  Orient" 

"Ponce  De  Leon  in  Florida"  "The  children  of  the  mountain" 
"The  last  arrow" 

He  made  a  series  of  remarkably  fine  designs  in  illustration  of  Long- 
fellow's "Hiawatha"  and  original  water-color  drawings  on  the  Yellow- 
stone National  Park. 

In  etching  his  achievements  have  been  both  numerous  and  valuable. 
Among  his  most  excellent  plates  are:  " Sounding  sea,"  "The  gate  of  Venice," 
"Harbor  of  Vera  Cruz,  Mexico,"  "Venice,"  "Dordrecht." 

"His  knowledge  of  form  and  constructive  ability  is  quite  remarkable, 
and  his  skill  in  composition  reveals  itself  best  in  the  black  and  white  repro- 
ductions of  his  works."     (Hartmann.) 

"  He  has  found  congenial  themes  in  the  weird  scenery  of  the  Yellowstone, 
he  has  dreamed  of  Turner  in  his  dreams  of  the  Orient  and  has  painted  us 
lovely  mornings  in  the  harbor  scenes  for  which  he  brought  home  his  sketches 
from  Cuba  and  ^lexico."     (Koehler.) 

For  some  time  in  addition  to  his  many  paintings  and  etchings,  he  de- 
signed 250  illustrations  annually.  His  etchings  won  hearty  praise  from 
John  Ruskin.  Associate  member  National  Academy  of  Design  1881,  full 
member  1884. 

/  .MosLER,  Henry,  (P.)  b.  New  York,  June  6,  1841.  Removed  to  Cincinnati 
in  1851  and  to  Nashville,  Tenn.,  in  1854.  Studied  wood-engraving  and 
painting  without  much  outside  aid.  Was  draughtsman  on  "The  Omni- 
l)us,"  a  Cincinnati  comic  weekly  in  1855.  Pupil  of  James  H.  Beard,  1862-.'i. 
Appointed  on  staff  of  Gen'l  R.  W.  Johnson.  Studied  art  in  Diisseldorf  and 
Paris,  1868-6. 

In  1874  he  again  went  to  Europe,  going  to  Munich  where  he  studied  under 
Wagner  and  also  received  private  and  special  criticism  from  Piloty.  When 
in  Munich  he  won  the  medal  of  the  Royal  Academy.     In  1877  he  removed 


153 

to  Paris,  and  the  following  year  "The  quadroon  girl"  and  "Early  cares" 
were  exhibited  in  the  salon.  His  "La  retour,"  better  known  as  "The  return 
of  the  prodigal  son."  received  honorable  mention  in  the  salon  of  1879  and 
was  purchased  by  the  French  government  for  the  Luxembourg.  This  was 
the  first  picture  that  France  purchased  from  an  American  artist.  Mr.  Mosler 
has  never  surpassed  the  technical  skill  displayed  in  this  Luxembourg  picture. 

His  "Harvest  dance,"  a  Brittany  scene,  received  the  gold  medal  in  the 
salon  of  1888,  which  placed  his  works  hors  concours  in  the  salon.  "The 
last  moments "  won  the  only  gold  medal  awarded  to  a  foreign  artist  by  the 
Arch-Duke  Carl  Ludwig  of  Austria  at  an  Exhibition  in  Vienna.  He  re- 
ceived in  1892  the  titles  "Chevalier  de  la  Legion  d'Honneur"  and  "Officier 
d  'Academie."  In  1894  returned  to  New  York.  Is  a  member  of  the  National 
Academy  of  Design,  New  York. 

"The  qualities  of  Mr.  Mosler  are  homely  sentiment,  a  talent  for  telUng 
an  obvious  storj'  such  as  ordinaiy  people  can  comprehend  and  enjoy,  and 
an  execution  which  is  always  adequate  and  often  excellent,  so  far  as  it  goes." 
(Child's  "Art  and  criticism.") 

The  number  of  his  works  is  considerable.  Their  titles  like  the  subjects 
treated  are  generall}^  anecdotic,  such  as: 

"The  return  of  the  prodigal  son"     "The  wedding  gown" 
"The  \illage  clockmaker"  "Visit  to  the  marchioness" 

"The  coming  storm"  "Breton  harvest  dawn" 

"  Forging  the  cross  "  "  The  birth  of  the  flag  " 

"  Ring,  ring  for  liberty  " 

Mowbray,  Henry  Siddoxs,  (M.  P.)  b.  Alexandria,  Eg}-pt,  August  5,  1858, 
of  English  parents.  In  1875  he  received  an  appointment  to  the  U.  S.  Military' 
Academy  but  remained  there  less  than  a  year;  took  up  chemistrj';  in 
1879  following  a  preference  for  art,  he  went  to  Paris  and  entered  the 
school  of  Leon  Bonnat.  For  three  years  occupied  himself  with  genre  sub- 
jects, of  which  the  best  known  perhaps  is  "Aladdin."  Settled  in  New 
York  in  1885.  Since  1886  has  been  an  instructor  in  the  Art  Students' 
League. 

Has  won  many  prizes  and  medals.  His  "Evening  breeze"  won  the  Clark 
prize  in  1888  and  he  was  made  full  academician  in  1891. 

"In  many  of  his  works  Mr.  Mowbray  gives  pictorial  form  to  the  romantic 
days  of  Florentine  chateau  life  during  the  renaissance;  in  othei*s  he  has 
chosen  oriental  subjects  ....  other  paintings  are  purely  fanciful,  of  these 
an  excellent  example  is  found  in  "Floreal"  mth  its  graceful  maidens  treading 
a  measure  to  the  sound  of  the  pipe  and  tambourine."     (Nat.  Cyc.  Am.  Biog.) 

He  also  paints  portraits  of  women  ^rith  sympathetic  interpretation  and 
exquisite  technique.  Of  late  years  has  given  much  time  to  mural  painting, 
and  among  his  most  recent  achievements  in  this  branch  of  art  is  "  The  trans- 
mission of  the  law"  in  the  Appellate  court  building,  New  York. 


154 

"It  is  a  beautiful  decoration;  very  individual  and  refined,  vnth  a  purity 
of  color  and  general  spontaneity  of  feeling  and  execution  most  captivating." 
(The  artist  27  :ix.) 

Murphy,  John  Francis,  (P.)  b.  Oswego,  N.  Y.,  December  11,  1853.  Went 
to  New  York  City  to  live  in  1875.  First  exhibited  at  the  National  Academy 
of  Design  in  1876.  Tn  1885  he  was  elected  an  associate  and  two  years  later 
an  academician. 

"Tints  of  a  vanished  past"  w^on  the  Hallgarten  prize  of  the  National 
Academy  in  1885;  "Brook  and  fields"  won  the  Webb  prize  of  the  Society 
of  American  Artists  in  1887,  and  "Under  gray  skies"  won  a  prize  in  1894. 

Mr.  Murphy  is  one  of  America's  simplest  and  at  the  same  time  most  poetic 
landscape  painters. 

At  an  exhibition  in  1910  he  contributed  the  following: 

"The  opal  sunset"  "The  music  boats" 

"  A  t^^^Hght  in  Venice  "  "  The  path  to  the  village  " 

"An  upland  cornfield"  "After  the  frosts" 

"  Edge  of  the  pond  "  "  Stony  fields  " 

"Sunny  slopes "  "  April  weather " 

"The  brook"  "Approach  to  an  old  farm" 

"  Sunset "  "  An  October  day  " 

" The  charcoal  burners "  "Landscape " 

"Early  fall"  "Sundown" 

"  A  cloudy  afternoon  "  "  The  yellow  leaf " 

"  A  gray  morning  "  "  Neglected  lands  " 

"He  has  developed  a  special  fondness  for  autumn  scenes,  but  these  are 
suffused  with  a  flood  of  yellow  or  golden  tints.  They  have  the  season's 
inherent  melancholy,  but  this  minor  note  is  vague  and  tender.  The  nature 
that  Mr.  Murphy  paints  is  invariably  nature  in  repose." 

"Simple  in  the  selection  of  his  themes,  unpretentious  in  his  compositions, 
synthetic  in  his  treatment,  not  given  to  sharp  contrasts  of  form  or  color, 
he  has  relied  for  his  effects  on  simple  straightforward  rendering,  told  in 
plain  terms  of  personal  interpretation."     (Brush  &  P.  10:205.) 

Nast,  Thomas,  (P.,  I.)  b.  Landau,  Bavaria,  September  27,  1840;  d.  Guaya- 
quil, Ecuador,  December  7,  1902.  Came  with  his  parents  to  America  in 
1846.  Was  educated  in  the  New  York  public  schools  and  displayed  a  de- 
cided talent  for  art.  At  the  age  of  fourteen  began  his  studies  in  art  with 
Theodore  Kaufman  and  at  the  age  of  fifteen  furnished  sketches  and  drawings 
for  Frank  Leslie's  Illustrated  Newspaper;  his  first  assignment  was  to  illustrate 
an  account  of  a  prize  fight.  Later  went  to  England  to  make  sketches  for  the 
New  York  Illustrated  News.     He  followed  Garibaldi's  army  through  Sicily 


155 

and  Calabria  and  contributed  numerous  battle  pieces  to  the  illustrated  press 
of  New  York.  Returned  to  United  States  in  1861  and  became  a  member 
of  Harpers  staff  in  the  foUoxsing  year. 

^Ir.  Nast  was  first  to  introduce  caricature  work  into  America  and  his 
pictures  of  war  scenes,  of  Andrew  Johnson  and  of  the  Tweed  Ring  had  great 
influence  on  the  pohtics  of  his  time.  His  war  pictures  for  Harper's  Weekly 
are  among  his  most  notable  works. 

'*  A  particular  feature  of  Mr.  Nast's  work  apart  from  his  wonderful  portraits 
was  the  abiUty  to  portray  the  individuahty  of  his  subject  by  some  character- 
istic pose  or  peculiarity  of  apparel." 

His  historical  paintings  in  oil  hold  high  rank  in  America  for  beauty  of 
conception  and  execution.     The  most  notable  of  these  are: 

"Peace  again"  "The  seventh  regiment  going  to  war" 

"  Lincoln  entering  Richmond  "  "  Appomattox  " 

"Sa^-ing  the  flag"  " The  day  before  the  surrender " 

"  During  the  ci^•il  war  "  "  Garibaldi " 

"  Mr.  Xast's  reputation  will  probably  rest  on  his  cartoon  work  but  it  was 
his  ardent  desire  that  his  name  should  be  handed  down  as  a  great  painter 
of  historical  scenes."     (Brush  &  P.  11:470.) 

Newcomb,  Maria  Guise,  (P.)  b.  New  Jersey.  Pupil  of  Edourd  Detaille 
in  Paris.  She  studied  horses  and  dogs  under  Schenck  the  animal  painter, 
and  sheep  \\-ith  Chiahva  and  traveled  in  Algeria  and  the  Sahara,  studying  the 
Arab  and  his  horses.  "Veiy  few  artists  can  be  compared  with  Mrs.  New- 
comb  in  representing  horses.     She  has  a  genius  for  portrapng  this  animal 

and  understands  its  anatomy  as  few  painters  have  done." "Her 

studies  in  Paris  were  comprehensive  and  her  work  shows  the  results  and 
places  her  among  the  distinguished  painters  of  animals."  (Women  in  the 
Fine  Arts,  p.  248.) 

The  first  picture  that  Miss  Guise  sent  to  the  Paris  salon  was  a  golden  haying 
scene  with  farmers  and  Brittany  horses;  it  was  accepted  and  well  hung. 
Her  greatest  work,  as  she  considers  it,  is  entitled  "The  work  horses  need" — 
the  heads  of  four  horses  drinking  from  a  street  fountain.  (American  art 
and  artists,  p.  13.) 

Newell,  George  Glenn,  (P.)  b.  Berrien  county,  Michigan,  1870.  Pupil 
of  the  National  Academy  of  Design  under  Ward ;  teachers  college.  New  York 
under  Will  S.  Robinson.  Member  Salmagundi  Club.  Specialty,  landscapes 
and  cattle. 

His  best  known  paintings  are: 

"Mists  of  the  morning"  "Through  shower  and  sun" 

"The  toilers" 


156 

Ney,  Elizabeth,  (S.)  b.  in  Westphalia,  Germany,  in  1830;  d.  Austin. 
Texas,  June  30,  1907.  Studied  art  in  Berlin  and  in  Munich  under  Christian 
Ranch.     She  lived  for  a  time  in  Georgia,  then  settled  in  Texas. 

"Miss  Ney  was  one  of  the  most  interesting  characters  as  she  was  one  of  the 
best  equipped  of  women  sculptors.  Nothing  could  be  more  romantic  than 
the  life  of  this  gifted  woman  who  was  patronized  by  the  "mad  king"  Ludwig 
II  of  Bavaria." 

Among  the  great  men  who  sat  to  Miss  Ney  were  von  Humboldt,  von  Liebig, 
Jacob  Grimm,  Schopenhauer,  Joachim,  Garibaldi  and  Bismark.  She  also 
executed  statues  of  Sam  Houston  and  other  noted  Texas  characters. 

Of  her  memorial  to  General  Albert  Sidney  Johnston  for  the  cemetery  of 

Austin.    "  The  conception  is  vivid   This  is  a  work  of  high  order, 

one  of  the  most  expressive  and  eminently  sculptural  con- 
ceptions among  recent  American  ideals."  (Lorado  Taft's  "History  of  Amer- 
ican Sculpture,"  p.  214.) 

NiCHOLLS,  Mrs.  Rhoda  (Holmes),  (P.,  I.)  b.  Coventrj-,  England.  Pupil  of 
Bloomsbury  School  of  Art,  London.  Studied  landscape  in  Rome  with 
Vertunni,  and  the  human  figure  with  Cannerano.  While  living  in  Italy 
her  work  attracted  the  attention  of  the  queen  who  summoned  her  to  re- 
ceive compliments  on  her  attainments.  Three  years  later,  she  went  to  South 
Africa  and  returned  to  England  with  many  canvases.  Previous  to  this 
she  had  received  recognition  in  England,  her  pictures  having  been  hung  on 
the  line  in  Royal  Academy  exhibitions.  In  1884  Miss  Holmes  married  Mr. 
Burr  H.  NichoUs  and  immediately  came  to  America. 

Her  pictures  are  chiefly  figure  subjects,  among  which  are  "Those  even- 
ing bells,"  "The  scarlet  letter,"  "A  daughter  of  Eve,"  "Indian  after  the 
chase,"  "Searching  the  Scriptures." 

In  the  Studio,  March  1901,  in  writing  of  the  exhibition  of  the  American 
Water-color  Society,  the  critic  says:  "In  her  two  works,  "Cherries"  and 
"A  rose,"  Mrs.  Rhoda  Holmes  Nicholls  shows  us  a  true  water-color  executed 
by  a  master  hand." 

Mrs.  Nicholls  is  also  known  as  an  illustrator;  her  work  ranges  all  along 
the  line  of  oil  painting,  water-colors,  wash  drawings,  crayons,  pastels.  As 
a  colorist  she  has  few  rivals  and  her  acute  knowledge  of  drawing  and  genius 
for  composition  are  apparent  in  every  thing  she  does. 

"Quickness  of  conception,  bold  treatment  and  fine  color  mark  all  her 
work,  while  the  wide  reach  of  her  subjects  is  remarkable." 

Mrs.  Nicholls  has  been  vice  president  of  the  New  York  Water  Color  Club, 
member  Women's  Art  Club,  New  York,  also  of  Canada;  member  of  Aquarelle 
Club,  Rome. 

"At  a  recent  exhibition  held  in  Knoedler  Galleries,  New  York,  two  canvases 
of  Mrs.  Nicholls'  attracted  attention.  One  was  a  slender  girl  holding  a  bowl 
of  roses;  the  other,  a  Venetian  water-color  sketch,  "Gamins"  lightly  and 


157 

delicately  painted,  yet  full  of  expression  and  vivid  effect  of  tones."    (Giles 
Edgerton.) 

NiEHAUS,  Charles  Henry,  (S.)  b.  Cincinnati,  O.,  Januaiy  24,  1855.  Pupil 
of  McMicken  School  in  Cincinnati,  also  Royal  Academy  in  Munich.  Re- 
ceived gold  medal  at  Pan-American  Exposition,  Buffalo,  1901:  was  elected 
associate  member  of  the  National  Academy  of  Design  in  1902;  full  member 
in  1906. 

^N'hile  at  the  McMicken  School  he  won  the  distinction  of  obtaining  at  the 
time  of  his  matriculation  a  first  prize,  medal  and  diploma  for  a  composition 
entitled  "Fleeting  time."  After  studying  at  the  Mimich  Royal  Academy 
he  returned  to  Cincinnati  and  received  commissions  for  statues  of  Garfield: 
one  for  Cincinnati,  the  other  to  be  placed  in  the  rotunda  of  the  capitol, 
Washington,  in  the  name  of  the  State  of  Ohio.  Aft^r  successfully  executing 
these  commissions  he  returned  to  Italy,  establishing  a  studio  in  Rome.  Merit 
of  the  work  done  there  brought  about  his  election  as  a  Fellow  of  L'Associa- 
zione  della  Artistica  Internationale  di  Roma.  Has  been  a  resident  of  New 
York  since  1885. 

Mr.  Niehaus  has  a  pronounced  leaning  toward  classic  subjects.  "The 
Greek  athlete  using  a  strigil"  is  considered  his  best  study  of  the  nude.  This 
work  is  known  to  the  artist  world  as  "The  scraper"  and  is  undoubtedly,  says 
Taft,  "one  of  the  few  good  nude  figures  in  American  sculpture." 

He  has  made  statues  of  many  distinguished  citizens  of  the  United  States, 
a  pair  of  doors  for  Trinity  Church,  New  York,  done  in  high  reUef,  equestrian 
statue  of  General  Forrest  for  Forrest  Park,  Memphis,  Tenn.,  contributed  to 
the  Librarj'  of  Congress  two  figures,  "Moses"  and  "Gibbon."  Among  his 
latest  undertakings  is  a  large  nude  figure,  "The  driller,"  an  important  feature 
of  a  monument  at  Titusville,  Pa.,  to  the  memory  of  Col.  Edwin  L.  Drake, 
who  sank  the  first  oil  well  in  Pennsylvania  in  1859. 

Several  critics  have  remarked  that  "the  admirable  breadth  and  smoothness 
of  his  treatment  recalls  the  antique  draperies  in  which  the  Greeks  found 
dehght."     (Taft's  "History  of  American  Sculpture.") 

NoRDFELDT,  Bror  J.  Olssox,  (P.,  E.)  b.  Scauia  in  the  south  of  Sweden, 
1878.  When  thirteen  years  of  age  his  parents  came  to  America  and  settled 
in  Chicago.  He  was  put  to  work  as  printers  devil  on  a  Swedish  newspaper. 
At  nineteen  he  took  up  the  study  of  art  in  the  classes  of  Frederick  Richardson 
at  the  art  institute;  also  studied  drawing  under  John  H.  Vanderpoel.  He 
became  assistant  of  Albert  Herter  in  painting  mural  decorations,  and  in 
1900  went  to  Paris  to  study.  His  first  efifort  was  hung  in  the  Paris  salon 
of  1901.  Also  in  the  same  year  he  had  a  product  on  the  line  at  the  Royal 
Academy,  London. 

Was  awarded  a  silver  medal  by  the  Italian  government  for  an  exhibit 
at  the  Milan  Exhibition  1906. 


158 

"He  works  direct!}^  from  nature,  composing  his  etchings  or  his  canvas 
with  the  scene  before  him."  His  etchings  "have  been  a  surprise  to  his 
friends  who  have  known  his  portraits,  his  landscapes  and  woodblock  prints." 

The  Provincetown  series  takes  us  among  the  boats  along  the  water  side 
with  reflections  out  at  sea.  "Mothers"  is  an  excellent  composition  including 
many  figures  and  nursemaids  in  Washington  Square;  it  recalls  groups  familiar 
to  that  locality. 

NouRSE,  Elizabeth,  (P.)  b.  Mount  Pleasant,  Cincinnati,  O.,  1860.  At  the 
age  of  thirteen  she  showed  remarkable  talent  for  painting  and  her  parents 
sent  her  to  the  Cincinnati  Art  School.  Later  the  family  fortune  was  lost 
in  a  financial  panic  and  she  earned  money  to  continue  her  studies  in  Paris 
by  designing  and  decorating  the  interiors  of  homes  in  Cincinnati.  At  the 
age  of  eighteen  she  entered  the  Academie  Julien.  Her  drawing  was  so  good 
that  Boulanger  advised  her  to  take  a  studio  and  work  alone,  that  her  style 
might  develop  uninfluenced  by  academic  training.  She  followed  his  advice 
and  the  same  year  her  painting  "A  mother  and  child"  w'as  accepted  in  the 
salon  and  hung  on  the  line,  an  unprecedented  honor  for  a  new-comer.  Today 
she  is  one  of  the  strongest  American  painters  in  Paris. 

When  Puvis  de  Chavannes,  Dagnan-Bouveret  and  others  formed  the 
Sbci^t^  Nationale  des  Beaux  Arts,  Miss  Nourse  sent  her  pictures  to  the  New 
Salon.  They  were  received  "with  acclamation"  and  three  years  later  she 
was  made  an  associee.  Puvis  de  Chavannes  was  the  first  to  congratulate 
her;  and  when  she  was  made  a  societaire  in  1901,  Dagnan-Bouveret,  Cazin, 
Besnard,  Rodin  and  others  showered  upon  her  congratulations.  Miss  Nourse 
was  the  first  American  woman  on  whom  this  coveted  honor  was  conferred. 

One  of  her  happiest  interpretations  of  a  mother's  joy  in  her  children  is  her 
"Happy  days"  (owned  by  Detroit  Museum  of  Art),  and  one  of  the  most 
appeaUng  canvases  is  "Thirst,"  now  in  a  gallery  in  Rouen,  France.  "Closed 
shutters"  has  been  purchased  by  the  French  government  for  the  Luxem- 
bourg. 

A.  Dubuisson,  a  French  art  critic,  says:  "There  is  no  painter  who  has 
reproduced  better  than  Miss  Nourse  the  naivet<5  of  a  baby's  attitude  and  the 
tenderness  of  motherly  love " 

Other  characteristic  paintings  are: 

"  On  the  dyke  "  "  Little  sister  " 

"  Evening  "  "  The  children  of  Penmarch  " 
"The  Madeleine  chapel  at  Pen-         "The  family  repast" 

march  "  "  Among  neighbors  " 

"  In  the  sheepfold  "  "  In  the  country  " 

"Good  Friday  in  Rome"  "The     pardon     of     St.     Francis     d' 
"  Morning  toilet "  Assisi " 

"The  first  communion"  "In  the  fields" 


ELIZABETH   XOUR8E. 


160 

"The  procession  of  Our  Lady  of       "Grandfather's  feast" 

Joy,  Penmarch"  "The     refectory     of     San     Damiano 

"  The  close  of  day  "  Assisi" 

Her  pictures  are  not  portraits  of  models,  but  types  of  human  character. 
Some  of  her  most  beautiful  pictures  are  landscapes  of  Brittany  or  bits  in  the 
old  forest  of  Rambouillet,  where  sh^  has  spent  many  summers.  In  the 
oriental  exhibition  held  in  Paris  in  1905,  her  sketches  of  African  desert  of 
Tunis  held  a  place  of  honor.  The  art  of  Elizabeth  Nourse  has  been  influenced 
by  no  other  painter.  Years  of  study  in  Paris  have  broadened  her  technique 
— her  brushwork  has  become  more  firm,  her  color  more  beautiful,  but  the 
character  of  her  painting  remains  unaltered.  "She  believes  in  art  not  alone 
for  art's  sake,  but  also  for  the  sake  of  a  humanity  which  it  can  uplift  and 
spirituaHze."     (Int.  studio  27:247.) 

Her  goodness  to  her  models  is  well-known  in  Paris.  A  profound  sym- 
pathy exists  between  her  and  the  humble  people  whom  she  paints. 

Oakley,  Violet,  (Mural  P.,  I.)  b.  New  Jersey,  1874.  Began  her  studies 
at  the  Art  Students  League  in  New  York;  after  studying  a  yesiT  with  Carroll 
Beckwith  she  went  to  Paris  and  became  the  pupil  of  Aman-Jean;  she  also 
was  a  pupil  of  Charles  Lasar  in  England.  Upon  her  return  to  the  United 
States  she  settled  in  Philadelphia  where  she  received  instructions  from  CeciUa 
Beaux  and  others.  As  her  work  led  naturally  toward  illustration,  she  entered 
the  class  of  Howard  Pyle. 

In  the  illustrations  for  "EvangeUne"  published  by  Houghton,  Mifflin 
&  Co.  in  1897  she  and  Jessie  Willcox  Smith  were  collaborators,  and  in  that 
color  work  came  the  first  suggestion  for  stained-glass. 

In  1878  she  executed  mural  decorations,  a  mosaic  reredos  and  five  stained- 
glass  windows  in  the  Church  of  All  Saints,  New  York;  has  also  designed  and 
decorated  a  window  in  the  Convent  of  the  Holy  Child  at  Sharon  Hill,  Pa. 

She  has  been  a  frequent  exhibitor  at  the  academy  in  Philadelphia  with 
studies  and  compositions  in  color  and  in  black  and  white  and  her  window 
for  the  Church  of  the  Epiphany  in  Boston  was  exhibited  in  New  York  before 
being  placed. 

In  1893  Miss  Oakley  was  commissioned  to  decorate  the  walls  of  the  gover- 
nor's reception  room  in  the  capitol  at  Harrisburg,  Pa.  This  is  the  first  work 
of  its  kind  to  be  confided  to  an  American  woman.  The  decorations  consist 
of  thirteen  decorative  panels  forming  a  frieze  of  heroic  size.  Under  the 
title  of  "The  founding  of  the  state  of  liberty  spiritual"  they  impressively 
record  events  in  the  life  of  William  Penn.  These  designs  were  exhibited 
at  the  Pennsj^lvania  Academy  of  the  Fine  Arts  and  they  won  for  her  a  special 
gold  medal  from  the  academy.  An  art  critic  writing  of  this  work,  now  com- 
pleted, says  that  her  grasp  of  the  subject  in  union  with  great  technical  skill 
has  placed  Miss  Oakley  in  the  foremost  rank  of  American  artists. 


161 

Miss  Oakley  has  been  chosen  to  complete  the  important  mural  decorations 
in  the  capitol  at  Harrisburg,  Pa.,  that  were  planned  and  begun  by  the  late 
Ed\\'in  A.  Abbej'. 

OcHTMAX,  Leoxard,  (P.)  b.  Zonnemaire,  Zeeland,  Holland,  October  21, 
1854.  Came  with  his  family  to  this  countiy  and  settled  at  Albany,  N.  Y. 
in  1866.  At  the  age  of  sixteen  he  entered  an  engra\'ing  office  as  a  draughts- 
man. A  winter  course  at  the  Art  Students'  League  of  Xew  York  was  prac- 
tically the  extent  of  his  art  education.  His  specialty — landscape — was 
entirely  self-taught.  He  first  exhibited  at  the  National  Academy  of  Design, 
Xew  York,  in  1882  and  has  since  that  time  been  a  regular  exhibitor  at  the 
art  institutes  and  associations  in  the  United  States. 

In  1885  he  traveled  in  England,  France  and  Holland. 

Frederick  W\  Morton  writes:     "He  is  the  exponent  of  home — a  home 

that  he  knows  intimately  and  deeply  loves   He  sees  broadly 

and  paints  as  simply  and  sympathetically The  scenes  he  loves 

to  depict  are  essentially  idylUc." 

His  "Night  on  the  Mianus  river,"  a  prize  picture,  holds  the  spectator 
in  a  sense  spellbound,  as  do  his  "The  light  of  night,"  "An  autumn  moon- 
light," "Moonlight  night"  and  other  night  scenes.  "The  enchanted  vale" 
is  one  of  his  typical  canvases — painted  in  the  reds  and  yellows  of  early  autumn. 
The  same  qualities  are  found  in  "In  the  mountains,"  "Views  from  Wood- 
Anld,"  "Seaside  farm,"  "Buds  and  blossoms." 

"If  they  (his  pictures)  could  be  translated  into  words,  as  expressive  as  are 
the  artists'  pigments,  they  would  all  have  the  simple  rhj-thm,  the  grace  and 

beauty  of  lyrics He  has  approached  nature  like  an  Inness." 

(Brush  &  P.  9:65.) 

Associate  member  of  National  Academy  of  Design  1898,  full  member 
1904. 

OsTHAUS,  Edmund  Hexry,  (P.)  b.  Hildesheim,  Germany,  August  5,  1858. 
Studied  art  in  the  Royal  Academy  of  Arts,  Diisseldorf,  1874-82;  pupil  of 
Andreas  Muller,  Peter  Janser,  E.  v.  Gebhardt,  E.  Deger  and  C.  Kroner  (a 
noted  landscape  painter).  Came  to  United  States  in  1883;  was  principal 
of  the  Toledo  Academy  of  Fine  Arts  in  1886;  now  devotes  his  time  to  painting, 
principally  pictures  of  shooting  and  fishing,  hunters  and  dogs. 

A  born  sportsman  and  a  student  of  animals,  explains  his  adoption  of  a 
specialty,  and  his  study  and  life  explain  his  art. ' ' 

"One  of  the  most  successful  painters  of  animals.  He  paints  animals  as  they 
are  in  a  natural  environment.  His  dogs  are  in  action  or  in  characteristic 
attitudes;  his  canvases  are  for  the  most  part  skilful  combinations  of  landscape 
and  animal  figure  painting  ....  A  careful  draughtsman  and  a  good  colorist 

His  works  are  documents  of  dog  fife. ' ' 

21 


162 

It  is  related  that  he  commenced  to  draw  as  soon  as  he  could  grasp  a  pencil, 
and  that  he  used  the  white  pine  floors  (his  mother's  pride  and  despair)  as 
material  on  which  to  express  his  youthful  inspiration. 

The  action  and  postures  of  his  animals  are  those  that  can  properly  be 
termed  characteristic. 

Favorite  paintings: 

' ' Slow  music "  "                           "The  leaders " 

"  Stumped  "  "  A  first  effort " 

"  Full  cry  "  "  My  old  coon  dog  " 

"The  dog's  glory  "  " On  the  bay  farm " 

(Brush  &  P.  18:81.) 

Otis,  Amy,  (Min.  P.)  b.  Sherwood,  N.  Y.  Pupil  of  Philadelphia  School  of 
Design  and  Pennsylvania  Academy  of  the  Fine  Arts;  also  studied  under 
Courtois  and  Garrido  in  the  Colarossi  Academy  in  Paris.  ]\Iember  Plastic 
Club,  Philadelphia  Water  Color  Club,  Pennsylvania  Society  Miniature  Paint- 
ers, Fellowship  Pennsylvania  Academy  of  the  Fine  Arts. 

Miss  Otis  has  either  drawn  or  painted  portraits  of  many  prominent  persons, 
those  of  Dr.  Horace  Howard  Furness,  Prof.  Corson  of  Cornell  University  and 
^Irs.  Julia  Ward  Howe  being  her  best  work.  She  has  also  done  much  in  the 
line  of  landscape. 

Page,  Walter  Oilman,  (P.)  b.  Boston,  Mass.,  October  13,  1862.  Was  edu- 
cated in  the  private  schools  of  Boston.  Studied  art  in  Paris  at  the  Academie 
Julien.  Exhibited  three  years  in  the  salons,  also  at  leading  art  exhibitions 
in  United  States. 

Mr.  Page  was  one  of  the  founders  of  the  first  public  school  art  league  in 
the  United  States. 

Palmer,  Walter  Launt,  (P.)  b.  Albany,  N.  Y.,  August  1,  1854.  Pupil  of 
F.  E.  Church  in  Hudson,  N.  Y.,  Carolus-Duran  in  Paris.  Received  second 
Hallgarten  piize  National  Academy  Design,  1887,  and  many  medals  and 
prizes  since  that  time.  Member  National  Academy,  1897.  Specialty, 
winter  landscapes. 

Charles  C.  Curran,  former  instructor  at  the  Art  Students'  League,  N.  Y. 
writes:     "In  Mr.  Palmer's  "White  world"  we  have  a  remarkable  example  of 

the  transformation  of  a  homely  spot  behind  the  old  farm  barn The 

sky  is  a  story  in  itself,  thin  vapors  taking  on  the  color  of  the  delicate  morning 
sunlight " 

Rhoda  Holmes  Nicholls  comments  on  the  same  painting:  "Exquisite 
and  tender  as  Walter  Palmer's  snow  pieces  always  are,  this  one  is  perhaps 
more  subtle  than  the  rest.  Its  extreme  simplicity  is  its  most  appealing 
quality." 


163 

Other  fine  examples  of  his  painting  are: 

"  Morning  light "  "  November  snow  " 

"  Red  barn  "  "  The  snow  mantle  " 

''Evening  star" 

Pape,  Eric,  (P.  I.)  b.  San  Francisco,  Cal,  October  17,  1870.  Pupil  of 
Ecole  des  Beaux  Arts,  and  of  Gerome,  Laurens,  Blanc,  Lefebvre,  Boulanger 
and  Delance  in  Paris.  The  list  of  honors  and  medals  and  decorations  that 
have  come  to  Mr.  Pape  is  said  to  be  overpowering. 

Under  the  age  of  twenty,  he  entered  the  Academie  Julien,  Paris  and  in 
his  examination  for  admission  to  the  Ecole  des  Beaux  Arts  liis  dra%nng  was 
marked  "No.  3,"  the  competitors  numbering  several  hundred.  His  first 
salon  picture — "Zevener  Spinnerin" — was  exhibited  when  he  was  nineteen; 
the  following  3-ear  he  had  three  pictures  and  a  bas-relief  medalhon  at  the 
same  salon;  has  been  a  frequent  exhibitor  since.  His  largest  and  most  im- 
portant picture  "The  two  eras"  shared  with  another  the  chief  attention  in 
the  salon  of  1893.  His  first  work  in  the  illustration  fine  was  executed  for  the 
Century  Company  when  he  was  still  in  Paris.  Upon  his  return  to  the  United 
States  in  1894  he  made  a  large  number  of  drawings  for  the  "  Life  of  Napoleon  " 
pubHshed  by  the  same  firm.  Perhaps  the  most  important  single  commission 
that  he  has  performed  was  for  Houghton,  Mifflin  &  Co.,  in  their  exquisite 
edition  of  General  Lew  Wallace's  "Fair  God."  His  series  of  thirty-five 
water-color  drawings  made  in  illustration  of  "The  life  of  Mahomet"  in  1900 
is  well  remembered,  as  are  the  illustrations  for  an  edition  de  luxe  of  Haw- 
thorne's "Scarlet  letter"  published  in  1905.  "The  romaunt  of  the  oak" 
is  one  of  a  group  of  paintings  to  adorn  a  five-volume  edition  de  luxe  of  the 
poems  of  his  personal  friend  Madison  Cawein. 

Mr.  Pape  spent  several  years  in  Egypt  studying  the  ancient  people  and 
typical  architecture.  "The  romantic,  the  archaic  and  the  mediaeval  are 
attractive  to  him,  the  sumptuous,  the  oriental  and  the  pageantry  of  barbaric 
splendor." 

He  conducts  the  Eric  Pape  Art  School,  Boston,  and  his  wiie  who  was 
Miss  Alice  ^lonroe,  a  skilful  artist,  was  his  assistant  in  this  school  until 
her  death  May  17,  1911.     (New  Eng.  M.  39:455.) 

Parker,  Edgar,  (P.)  b.  Framingham,  Mass.,  1840.  Spent  his  professional 
life  in  Boston.  Had  no  instruction  in  painting.  Three  of  his  portraits 
are  in  Faneuil  Hall — Charles  Sumner,  Henry  Wilson  and  Rear  Admiral  John 
A.  Winslow. 

Wliittier  gave  him  sittings  in  1875  for  a  portrait  wliich  is  the  only  original 
likeness  of  that  gi*eat  poet  in  existence,  excepting  one  by  Hoyt,  painted  in 
Whittier's  youth. 

He  painted  the  popular  "Embarkation  of  the  pilgrims"  after  a  painting 
bv  Robert  Weir. 


164 

Parrish,  Maxfield,  (I.,  :Mural  P.)  b.  Philadelphia,  Pa.,  July  25,  1870. 
Son  of  Stephen  Parrish  who  is  a  painter  and  etcher  of  ability.  Graduated 
at  Heverford  College  and  then  entered  the  Pennsylvania  Academy  of  the  Fine 
Arts;  after  this  he  studied  under  Howard  Pyle  at  Drexel  Institute.  Received 
honorable  mention  at  the  Paris  Exposition,  1900;  silver  medal  for  drawing 
at  the  Pan-American  Exposition,  1901.  Member  of  Society  of  American 
Artists,  1897;  associate  member  of  the  National  Academy  of  Design,  New- 
York   1905:  full  member,  in  1906. 

After  living  in  England  and  France  for  several  years,  returned  to  the 
United  States.  Mr.  Parrish  has  become  celebrated  as  an  illustrator  but  his 
first  productions  were  of  a  decorative  character.  The  first  work  to  bring 
him  into  prominence  was  a  cover  design  for  the  Christmas  number  of  Harper's 
Weekly,  1895.  In  1894  he  was  elected  a  member  of  the  Society  of  American 
Artists  on  his  pictures  "The  sandman"  and  "The  bulletin  board."  Has 
contributed  designs  for  Century  ^lagazine.  Harper's  Weekly,  the  Round 
Table,  Scribner's  Magazine  and  the  Book  Buyer;  illustrated  Kenneth  Gra- 
hame's  "Golden  age,"  Irving's  "History  of  New  York,"  Eugene  Field's 
"Poems  of  childhood,"  Edith  Wharton's  "ItaUan  villas  and  their  gardens,'^ 
R.  Stannard  Baker's  "Great  northwest"  and  "Great  southwest." 

"Mr.  Parrish  is  at  his  best  in  color.  His  palette  is  rich  and  full;  his  use 
of  color  strikingly  effective,  both  as  a  means  of  artistic  and  of  poetic  ex- 
pression ....  His  imagination  finds  expression  not  only  in  warm,  rich  tones 
and  a  glow  of  color,  but  when  other  ends  are  so\ight  it  employs  the  most 
subdued  effects,  and  at  times  it  rests  on  empty  space  ....  Mr.  Parrish  is  one 
of  those  rare  illustrators  who  never  disappoint.  There  is  always  something 
to  admire  in  his  work,  and  in  most  of  his  pictures  a  cause  for  genuine  delight 
....  His  pictures  and  decoration  have  a  distinct  place  of  their  own  in  modern 
American  art."     (Outl.  78:829.) 

"A  calm  completeness  and  faultless  finality  are  in  everything  he  does. 
His  color  schemes  are  as  synthetic  and  clearly  understood  as  his  architectural 
settings."     (Ind.  59:1398.) 

"Decorative  it  is  to  exaggeration  and  whimsical  and  quaint  and  so  in- 
dividual as  to  be  personal — but  withal  so  full  of  humor  and  sentiment  as  to 
make  genial  its  Gothic  spirit." 

Mr.  Parrish  has  made  the  mural  decorations  for  the  Curtis  Publishing 
Company  of  Philadelphia  in  their  new  building.  This  series  is  on  the  top 
floor  and  is  l)y  far  the  finest  thing  he  has  ever  done.  There  are  seventeen 
paintings.  Sixteen  of  these  occupy  the  space  between  the  windows  and  form 
a  sequence  of  glimpses  of  an  architectural  garden-terrace  and  above  the 
ten-ace  may  be  seen  vistas  of  a  wonderful  turquoise  sky,  through  the  branches 
of  veneral)le  and  fantastically  gnarled  cedars  ....   A  carnival  is  depicted 

in  the  last  panel  and  shows  the  loggia  of  an  Italian  palace The  drawing 

is  at  once  masterful  urxl  exciuisite  ....  li^ach  figure  is  a  study  in  itself 

Of  the  color  what  can  be  said  other  than  what  has  been  said  above — that  it 
is  like  a  painting  of  Maxfiekl  Parrish.     (Int.  studio  47:xxv.) 


163 

Parrish,  Stephen-,  (E.,  P.)  b.  Philadelphia,  Pa.,  July  9,  1846.  After 
the  age  of  thirty-one  he  applied  himself  to  art,  studying  under  a  local  teacher: 
took  up  etching  and  produced  his  first  plate  in  1879.  Has  exhibited  in  Xew 
York,  Boston,  Philadelphia,  Vienna  and  Dresden.  Is  a  member  of  the  Royal 
Society  of  Painter-Etchers.  London. 

Mr.  Parrish  takes  the  very  first  rank  in  American  etching.  He  has  ex- 
perimented \\'idely  with  his  art,  especially  in  the  matter  of  sky  treatment. 

Exhibited  "Evening,  low  tide"  in  the  salon  of  1885,  and  "On  the  Ranee, 
Brittany"  in  1886.  Koehler  says  that  Stephen  Parrish's  "Annisquam" 
is  a  convincing  argument  that  the  etching  process  is  fitted  to  express  broad 
sunUght  as  well  as  twiUght  effects. 

Among  his  best  prints  are: 

"The  shepherd's  Christmas  eve"       "Fishermen's  houses,  Cape  Ann" 
"  Old  fish-house  "  "  Coast  of  Xew  Brunswick  " 

"  Low  tide.  Bay  of  Fundy  "  "  Midsummer  twilight " 

P.\RTOx,  Arthur,  (P.)  b.  Hudson,  N.  Y.,  March  26,  1842.  Began  to  draw 
and  paint  while  still  a  schoolboy  and  early  entered  the  studio  of  William 
T.  Richards  in  Philadelphia:  also  attended  the  P.  A.  F.  A.  Spent  a  year  in 
travel  and  study  in  Europe  in  1869.  Returned  to  Xew  York.  Associate 
member  Xational  Academy  of  Design,  1872;  academician,  1884. 

The  works  that  brought  him  prominently  before  the  pubUc  were  "On  the 
road  to  Mount  Marcy,"  "A  mountain  brook,"  "Sycamores  of  old  Shokan," 
"Delaware  river  near  Milford,"  "Xightfall,"  "The  morning  ride,"  "Winter 
on  the  Hudson,"  "Evening,  Harlem  river." 

His  "Xovember,"  " LochLomond,"  "Solitude,"  and  "StirUng  Castle," 
(four  splendid  pictures)  attracted  much  attention  at  the  Centennial  Ex- 
hibition of  1876.  It  was  this  group  that  gave  a  national  scope  to  his  reputa- 
tion. 

Paulus,  Francis  Petrus,  (P.,  E.)  b.  Detroit,  Michigan,  1862.  Studied 
first  at  the  Pennsylvania  Academy  of  the  Fine  Arts  in  Philadelphia,  then 
under  Bonnat  in  the  Ecole  des  Beaux  Arts,  Paris,  and  Prof.  Loefftz  in  Munich; 
finally  traveled,  and  studied  in  Italy,  Portugal.  Holland  and  Belgium.  Is  a 
member  of  the  Internationale  Societe  de  la  Gravure  Originale  en  Xoir  of 
Paris,  Munich  Society  of  Etchers,  and  was  one  of  the  founders  of  the  Society 
of  Western  Artists.  Has  received  recognition  and  honoi-s  at  the  salons  in 
Brussels,  Antwerp,  Ghent  and  Paris,  and  his  works  are  equally  well-known 
in  America. 

Mr.  Paulus  was  a  teacher  of  art  in  Detroit  for  some  years,  but  a  few  years 
ago  he,  with  his  charming  wife,  took  up  residence  in  the  old  city  of  Bruges, 
where  he  has  made  gieat  use  of  the  material  there  offered. 

"Mr.  Paulus  finds  a  special  fascination  in  sunhght,  moonlight  and  firelight, 
and  perhaps  he  is  never  better  than  when  he  introduces  the  conflicting  lights 


166 

of  sunlight  and  artificial  light  as  in  his  clever  picture  called  ''The  forge"  in 
which  he  reveals  himself  as  a  master. 

"In  his  love  of  light  he  resembles  Rembrandt.  Mr.  Paulus  is  frankly 
an  impressionist,  and  a  believer  in  the  supremacy  of  a  great  idea  over  tech- 
nique." 

A  portrait  of  Mrs.  Paulus  won  great  praise  when  exhibited  in  the  salon 
of  1904.  The  most-  interesting  portrait  he  has  ever  painted — that  of  his 
friend,  Alfred  Gilbert,  the  English  sculptor — hangs  in  his  studio.  One  of 
the  finest  pictures  Mr.  Paulus  has  painted  is  "The  house  of  the  lowly."  "The 
golden  curtain"  is  a  homely  subject  exquisitely  treated,  showing  a  group  of 
busy  peasant  women  working  at  the  washtub.  The  light  coming  through 
the  yellow  curtain  illuminates  the  clouds  of  steaming  vapor  and  the  women 
intent  upon  their  work. 

On  "The  old  market,"  I.  G.  McAUister,  comments:  "It  is  a  grand  example 
of  what  ^Ir.  Paulus  delights  in  painting,  a  subject  vibrating  with  life  and 
movement." 

"Work  and  gossip"  gleams  with  the  brilliant  life  of  southern  latitudes. 
The  entire  scale  of  color  is  given  in  remarkable  gradations  of  tone." 

Mr.  Paulus  is  wide  in  his  range  of  subjects  from  portraits  to  charming 
interiors,  landscapes,  subject  pictures  and  pastels. 

He  has  never  chosen  the  hackneyed  sensational  subjects  likely  to  appeal 
to  the  pubHc.     (English  111.  M.  47:411.) 

"  He  has  an  unusual  gift  of  the  power  of  penetration  into  the  deeper  meaning 
and  poetical  side  of  his  subjects  so  that  the  homeliest  theme  is  invested  with 
a  dignity  and  grace  under  his  hand  and  realism  is  never  allowed  to  master 
refinement  of  treatment."     (Int.  studio  46:141.) 

Paxtox,  William  ]McGregor,  (P.)  b.  Baltimore,  Md.,  June  22,  1869. 
Pupil  of  Ecole  des  Beaux  Arts  under  Gerome  in  Paris;  Denis  M.  Bunker  in 
New  York. 

Received  honorable  mention  at  Pan-American  Exposition,  Buffalo,  1901; 
l>ronze  medal  at  St.  Louis  Exposition,  1904.     A  teacher. 

Among  his  recent  works  which  have  been  notable  are: 

" A  string  of  pearls "  "At  the  telephone " 

"The  white  sunshade"  "The  huntsman" 

"The  bride" 

Frederick  W.  Coburn,  New  England  Magazine  39:37,  says:  "Mr.  Paxton 
became  an  interesting  figure  in  American  art  a  few  years  ago  when  it  was 
announced  that  he  takes  account  in  his  painting  of  the  facts  of  binocular 
vision.  It  was  observed  during  his  large  exhibition  at  the  St.  Botolph  Club, 
lioston,  in  the  winter  of  1905,  that  he  had  undertaken  to  render  nature  as 
seen  with  both  eyes,  instead  of  as  nearly  every  other  painter  has  done,  as 
seen  with  only  one  eye.     A  certain  doubling  of  vertical  lines,  in  other  words,. 


167 

that  are  visible  just  outside  of  the  visual  focus  has  ordinarily  been  presented, 
if  at  all,  simply  by  a  de\'ice  of  blurring  or  lowering  the  tone  of  accessories. 
!Mr.  Paxton,  so  far  as  I  know,  was  the  first  painter  to  render  naturaUstically 
this  overlapping  of  images  in  such  a  manner  as  largely  to  increase  the  optical 

illusion " 

"Velasquez,  Vermeer,  Gainsborough  and  Ingres  seem  to  be  Paxton's 
masters  so  far  as  he  is  indebted  to  the  past.  As  to  affiliation  w-iih  present 
day  artists  he  stands  somewhat  aloof,  although  generally  accepted  as  one 
of  the  "Boston  impressionists." 

Peale,  Charles  Watsox,  (P.)  b.  Chest ertown,  Md.,  April  16,  1741:  d. 
Philadelphia,  Pa.,  February  22,  1827.  At  thirteen  he  was  apprenticed  to  a 
saddler  and  afterwards  established  himself  in  the  business.  Becoming 
interested  in  art  he  took  lessons  from  a  German  painter  to  whom  he  gave  a 
saddle  for  the  privilege  of  seeing  him  paint.  Influential  friends  pro\ided 
the  funds  necessary  for  him  to  go  to  England  to  continue  his  art  studies. 
He  studied  under  John  Singleton  Copley  at  Boston  and  in  1770  went  to 
London  and  became  a  pupil  of  Benjamin  West.  Returning  to  the  United 
States  he  established  himself  in  Philadelphia  in  1776.  He  commanded  a 
corps  of  volunteers  in  the  revolutionary  war,  became  interested  in  pohtics 
and  later  lectured  on  natural  history;  Avas  one  of  the  founders  of  the 
Pennsylvania  Academj-  of  the  Fine  Arts  at  Philadelphia  in  1805. 

His  fame  rests  mainly  on  his  achievements  as  a  portrait  painter  and  the 
circumstances  of  his  association  with  Washington,  who  gave  him  fourteen 
sittings.  "He  was  the  only  portrait  painter  at  that  time  and  his  genius  was 
in  great  demand." 

The  first  of  the  fourteen  portraits  of  Washington  by  Peale  was  in  the  uni- 
form of  a  Virginia  colonel  and  is  the  only  one  now  extant  of  those  painted 
before  the  revolution  and  is  highly  valued  as  the  first  authentic  likeness  of 
him. 

His  portraits  gathered  in  Independence  Hall,  Philadelphia, — one  hun- 
dred and  seventeen. — include  most  of  the  celebrities,  native  and  foreign, 
associated  with  American  history  and  society. 

"  His  likenesses,"  says  his  son  Rembrandt,  "  were  strong  but  never  flattered; 
in  execution  spirited  and  natural." 

Pearce,  Charles  Sprague,  (P.,  Mural  P.)  b.  Boston,  Mass.,  October  13, 
1851.  Certain  success  as  an  amateur  painter  led  him  to  regard  art  as  a 
possible  profession  and  after  five  years  in  mercantile  business  he  took  up 
painting  as  a  profession.  He  went  to  Paris  in  1873  and  entered  the  school 
of  Leon  Bonnat,  where  he  remained  three  3'ears. 

Ill-health  made  it  advisable  for  him  to  pass  the  winters  in  a  warmer  climate 
and  he  ^dsited  Egj-pt,  Nubia,  Algeria,  Italy  and  southern  France.  Since 
1885  he  has  lived  at  Auvers-sur-Oise.  His  first  painting  pubhcly  exhibited 
was  shown  at  the  Paris  salon  of  1876. 


168 

He  has  received  prizes  and  medals  from  exhibitions  and  salons  in  the 
United  States  and  Europe  and  been  accorded  the  distinction  of  an  election 
as  a  member  of  the  Order  of  Dannebrog,  Denmark,  Order  of  the  Red  Eagle, 
Prussia,  Order  of  Leopold,  Belgium,  and  chevalier  of  the  Legion  of  Honor, 
France;  is  a  member  of  the  Paris  Society  of  American  Artists  and  of  the 
National  Academy  of  Design,  New  York. 

He  has  painted  portraits  and  figure  subjects  but  has  made  his  greatest 
success  picturing  the  rustic  landscape  and  the  peasants  of  northern  France. 

"His  shepherdesses,  peasant  girls  and  women  chopping  wood  or  mind- 
ing their  herds  are  the  work  of  a  man  who  acquired  a  forcible  technique 
under  Bonnat  and  studied  Bastien-Lepage  with  understanding."     (Muther.) 

"The  shepherdess"  is  probably  his  masterpiece. 

Other  works  are: 

"Across  the  com-mons"  "Abraham's  sacrifice" 

"  Death  of  the  first  born  "  "  Pet  of  the  harem  " 

"Beheading  of  Saint  John"  "Water  carrier" 

"Prelude"  " Toiler  of  the  sea " 

"  Return  of  the  flock  "  "  Evening  " 

"  Saint  Genevieve  "  "  The  shawl " 
"Un  chemin  a  Auvers-sur-Oise  " 

Peixotto,  Ernest  Clifford,  (P.,  I.,  Min.  and  Mural  P.)  b.  San  Fran- 
cisco, Cal.,  1869.  Pupil  of  Benjamin-Constant,  Lefebvre  and  Doucet  in 
Paris.  Received  honorable  mention  in  the  Paiis  salon  of  1895.  Elected 
associate  member  of  the  National  Academy  1909.  Instructor  in  the  Art 
Institute,  Chicago,  1907-8. 

Has  illustrated  Henry  Cabot  Lodge's  "Story  of  the  Rebellion;"  Roose- 
velt's "Life  of  Cromwell,"  Hemstreet's  "Nooks  and  corners  of  old  New 
York"  and  numerous  articles  and  stories  in  current  magazines. 

Penfold,  Frank  C,  (P.)  b.  Buffalo,  N.  Y.  Received  honorable  mention  in 
the  Paris  salon  of  1889  and  honorable  mention  at  the  Pan-American  Ex- 
position, Buffalo,  1901. 

A  good  specimen  of  his  work  is  "Stormy  weather,  North  sea." 

Pennell,  Joskph,  (I.,  E.)  b.  Philadelphia,  Pa.,  July  4,  1860.  He  was  a 
pupil  in  the  Pennsylvania  Academy  of  the  Fine  Arts  and  his  unusual  ability 
in  etching  was  early  recognized  by  his  instructor,  James  L.  Claghorn.  He 
has  won  honorable  mention  and  medals  at  Philadelphia,  Chicago,  Paris  and 
elsewhere  and  has  acquired  no  small  measure  of  fame  as  a  public  lecturer 
and  as  a  critic  and  author.  Associate  member  National  Academy  of  Design, 
1907;  full  member,  1909. 

Is  represented  in  the  Luxembourg  Gallery,  Paris,  Cabinet  des  Estamps, 
France,  I'ffizi  (Jallery,  Florence,  Modern  Gallery,  Venice,   Berlin  National 


169 

Gallen',  Dresden,  Buda-Pesth,  South  Kensington  galleries  and  in  many 
coUections  in  the  United  States. 

As  an  illustrator  for  a  time  he  worked  in  New  Orleans  in  collaboration 
with  Cable,  the  novelist ;  in  1881  he  went  to  Europe  to  illustrate  some  of  the 
ItaUan  writings  of  W.  D.  Howells.  Here  he  received  recognition  from  PhiUp 
Gilbert  Hamerton  who  secured  his  services  in  illustrating  a  book  on  a  tour 
along  the  River  Saone.  "The  fame  of  his  work  soon  brought  him  all  the 
commissions  he  wished,  and  he  collaborated  with  Henry  James,  Justin  Mc- 
Carthy and  Sir  Walter  Besant  in  illustrating  the  picturesque  streets  and 
buildings  of  London:  with  Andrew  Lang  in  doing  the  same  ser\ice  for  Edin- 
burgh; with  Mrs.  Schuyler  Van  Rensselaer  in  portraying  the  majesty  and 
beauty  of  the  English  cathedrals;  with  his  wife  Elizabeth  Robbins  Pennell 

in  recording  the  charms  of  European  travel His  drawings  are  legion 

in  number  and  must  be  seen  to  be  appreciated.  His  etchings  (he  has  des- 
troyed all  his  early  plates  to  prevent  inferior  prints  from  worn-out  plates 
finding  their  way  into  the  market),  run  up  into  the  hundreds  and  have  an 
average  excellence  rarely  maintained  by  a  devotee  of  the  needle;  his  Philadel- 
phia, New  Orleans,  Italian  and  London  series,  all  have  their  own  charm 
and  their  own  excellence." 

"No  American  illustrator  has  won  for  himself  a  more  en\'iable  fame  than 
Joseph  Pennell.  His  art  is  unique,  peculiarly  his  owti.  As  a  draughtsman 
the  world  has  produced  few  equals  and  no  superior.  With  rare  exception 
everAthing  he  has  done  has  in  an  eminent  degree,  the  quality  of  the  artistic." 
(Brush  &  P.  12:81.) 

"As  Gibson  is  the  leader  among  figure  draughtsmen.  Pennell  is  the  leader 
among  landscape  draughtsmen."     (Ernest  Knaufft.) 

"Among  modem  etchers  there  are  few  whose  work  so  consistently  show 
the  characteristic  touch  of  a  master  etcher  as  does  the  work  of  Joseph  Pennell. 
It  has  been  said  that  he  is  the  gieatest  of  contemporarj-  etchei"s."  (Canad. 
M.  38:334.) 

Hans  Singer  writing  in  the  International  Studio  says  that  he  personally 
places  Pennell's  architectural  etchings  even  above  WTiistler's. 

^Ir.  Pennell's  latest  work  is  a  series  of  twenty-thi-ee  lithographs  of  the 
Panama  Canal. 

The  Italian  government  has  just  purchased  for  the  Uffizi  galler}-,  Mr. 
Pennell's  lithographs  of  the  Panama  Canal,  of  the  Grand  Canyon  and  the 
Yosemite.  It  is  the  first  time  Uthographs  have  been  acquired  for  the  I'flBzi 
and  confers  distinction  upon  this  popular  American  artist. 

Perr.\ult,  I.  Marie,  (P.)  b.  Detroit,  Mich.  Studied  at  the  Detroit  Mu- 
seum of  Art  School  and  for  the  past  seven  years  in  Paris.  The  Hague  and 
Brussels. 

Mrs.  Perrault's  work  is  veiy  well  thought  of  in  Holland  and  she  is  well 
represented  in  the  collections  of  that  country.     She  is  pre-eminently  a  painter 


170 

of  children,  her  later  work  being  influenced  by  Carriere.     Member  of  several 
art  clubs  abroad. 
Her  best  works  are: 

"Maternite"  "The  dream" 

"Springtime"  "The  yellow  flower" 

At  a  special  exhibition  of  her  paintings  and  sketches  held  in  Detroit, 
Michigan,  October,  1911,  Mrs.  Perrault  was  represented  by  thirty-five  in- 
teresting and  characteristic  canvases. 

PicKNELL,  William  Lamb,  (P.)  b.  Hinesburg,  Vt.,  October  23,  1854,*  d. 
Marblehead,  Mass.,  August  9,  1897.  Went  to  Europe  in  1874,  studying 
with  George  Inness  in  Rome,  later  for  a  few  months  under  Gerome  in  Paris. 
From  Fi'ance  he  went  to  England  and  for  a  number  of  years  was  an  exhibitor 
at  the  Royal  Academy,  London;  also  lived  and  painted  in  Brittany,  working 
under  Robert  Wylie  until  the  death  of  that  artist. 

Received  honorable  mention  in  the  Paris  salon  of  1880;  awarded  medals 
in  Boston,  Mass.,  1881  and  1884;  won  Lippincott  prize,  Pennsylvania  Academy 
of  the  Fine  Arts,  1896. 

j\Iember  of  the  Society  of  American  Artists,  New  York,  and  the  Society 
of  British  Artists,  London;  associate  member  of  the  National  Academy  of 
Design,  New  York,  1891. 

Mr.  Picknell  is  represented  in  the  Luxembourg,  Paris,  Institute  of  Arts 
and  Sciences,  Brooklyn,  ^letropolitan  ]\Iuseum  of  Art,  New  York,  Boston 
Museum  of  art  and  Carnegie  Art  Gallery,  Pittsburgh. 

The  first  picture  to  bring  him  recognition  and  standing  as  a  painter  was 
his  "Route  de  Concarneau"  painted  at  Pont  Aven,  Brittany.  His  "Breton 
peasant  girl  feeding  ducks"  was  exhibited  at  the  Royal  Academy,  London, 
1877,  and  "The  fields  of  Kerren"  received  honorable  mention  in  the  salon 
of  1878.  "Wintry  March"  was  purchased  for  the  Walker  Art  Gallery  of 
Liverpool  and  hung  in  the  apartment  occupied  by  Queen  Victoria  on  her 
visit  to  that  city.  "  On  the  borders  of  the  marsh  "  was  one  of  the  first  pictures 
purchased  by  the  Pennsylvania  Academy  of  the  Fine  Arts  and  "A  toiler  of 
the  sea  "  was  the  first  picture  bought  for  the  Carnegie  Art  Gallery,  Pittsburgh. 
His  marine  "Plowing  deep  while  others  sleep"  won  the  £100  prize  of  the 
Society  of  British  Artists. 

The  French  and  English  critics  gave  unstinted  praise  to  the  strength  and 
distinction  of  his  pictures. 

"Art  to  him  was  holy;  there  must  be  no  hypocrisy,  no  shirking,  no  secrets. 
All  his  knowledge  he  was  eager  to  impart  without  price " 

An  Italian  gentleman  and  painter  paid  this  tribute  to  him:  "It  is  the 
sad  privilege  and  prerogative  of  such  natures  to  leave  darkness  where  their 
spirit  threw  light,  for  he  was  one  of  those  enthusiasts  in  the  etymological 
sense  of  the  word,  possessed,  carrying  mth  them  a  power — a  god  if  you  like — 


171 

and  such  guests  are  felt  even  in  ordinary  surroundings."     (Cent.  n.  s.  40:710.) 
Notable  examples  of  his  art  are: 

"  A  stormy  day  "  "  Among  the  olives  " 

"  Coast  of  Ipswich  "  "  A  gray  morning,  Moret " 

"Sunshine  and  drifting  sand"  "Late  afternoon,  ^Moret" 

"A  sultry  day"  "Morning  on  the  Loing" 

"After  the  storm"  "Morning  on  the  Mediterranean" 

"The  edge  of  \sinter"  "Twihght  on  the  Mediterranean" 

"Where  broad  ocean  leans  "^Iid-^^inter  on  the  Litorel" 
against  the  land  " 

"Picknell  made  extensive  use  of  the  palette  knife,  gaining  thus  some- 
thing of  the  purity  of  tone,  the  vibration  and  the  marvelous  amount  of  at- 
mosphere that  distinguished  many  of  his  canvases." 

Pitts,  Lendall,  (E.)  b.  Detroit,  Mchigan.  Pupil  of  Jean  Paul  Laurens 
in  Paris. 

E.  A.  Taylor  in  writing  of  American  etchers  (Studio  special  number), 
says:  "In  color,  American  etchers  with  but  few  exceptions  have  not  shown 
any  notable  examples,  the  most  distinctly  personal  and  interesting  results 
yet  attained  being  those  by  Lendall  Pitts,  who  exhibited  some  remarkable 
results  of  his  experimental  achievements  in  the  St.  Louis  Museum  of  Fine 
Arts  in  1908.  In  his  studio  in  Paris  he  works  heedless  of  recognized  methods 
and  pubUc  appreciation,  producing  many  httle  masterpieces  viith.  deUghtful 
simphcity.  "Sunset  on  the  lake,"  "Castle  of  Sigiienza,  Spain"  and  "The 
cascade  "  are  unique  illustrations  of  his  color-etching  and  aquatint." 

Platt,  Alethea  Hill,  (P.)  b.  Scarsdale,  N.  Y.  Pupil  of  Henry  B.  Snell, 
Ben  Foster  and  Art  Students'  League,  New  York.  Received  first  prize  for 
water  color  New  York  Woman's  Art  Club,  1903.  Member  New  York  Wo- 
man's Art  Club,  Pen  &  Brush  Club,  National  Arts  Club,  New  York  Water 
Color  Club. 

In  writing  of  the  exhibition  of  the  New  York  Water  Color  Club,  Palette 
and  Bench,  February  1910,  has  this:  "The  "scrub  method"  originated  by 
Mr.  Henry  B.  Snell  was  well  represented  by  one  of  his  ablest  pupils.  Miss 

Alethea  H.  Platt  in  her  fine  interior,  "An  old  world  kitchen" There 

are  some  delicious  bits  of  color  in  this  old  kitchen  scene." 

The  art  critic  of  one  of  the  New  York  papers  writes:  "One  of  the  most 
interesting  displays  is  made  up  of  thirty  paintings  by  ^liss  Alethea  Hill  Platt 
in  the  Powell  gallery.  The  artist  presents  scenes  from  the  fair  land  of  Devon 
and  from  the  coast  of  Brittany.  Charming  interiors  showing  the  homely 
hfe  of  the  peasantry  on  both  sides  of  the  channel  of  which  Miss  Platt  has 
made  a  specialty  in  her  European  sojourns,  are  already  well  known. 


172 

"There  is  something  entirely  new,  however,  in  several  landscapes  which 
she  shows.  They  are  brilliant  in  tone  but  true  to  the  colors  found  in  sky 
and  plain  and  vale.  Those  familiar  with  her  earlier  work  will  be  deeply 
interested  in  the  new  departure  as  revealed  in  "The  sunlit  moor,"  and  "Tors 
on  Dartmoor,"  which  are  bathed  in  the  soft  airs  of  England.  A  water  color 
"A  moorland  shepherd"  represents  a  herdsman  returning  at  eventide  to  his 
cottage  and  there  is  wonderful  charm  and  feeling  in  this  peaceful  bit  of  rural 
England,  which  includes  his  cottage  and  its  surroundings." 

Pope,  Alexander,  (P.,  S.)  b.  Boston,  Mass.,  March  25,  1849.  At  the  age 
of  seven  he  did  creditable  work  in  sketching  animals,  and  was  self-taught 
with  the  exception  of  instruction  in  perspective  drawing  and  anatomy  with 
Dr.  Rimmer.  At  twenty  he  was  a  devotee  of  wood-carving  and  modeling. 
He  originated  painted  game  birds  carved  out  of  pine  wood,  two  of  them  being 
purchased  by  the  Czar  of  Russia.  Later  he  was  ambitious  to  become  a 
sculptor.  His  first  notable  canvas  was  "CaUing  out  the  hounds,"  and  his 
two  most  noted  pictures  are  his  "Martyrdom  of  St.  Euphemia"  and  his 
"Glaucus  and  the  hon"  (taken  from  Bulwer's  "Last  days  of  Pompeii"). 

One  of  his  most  realistic  productions  is  the  painting  of  a  white  swan  hanging 
to  a  door.  "Just  from  town"  shows  two  peacocks  and  is  one  of  his  simplest 
and  most  pleasing  paintings.     (Brush  &  P.  8:105.) 

Mr.  Pope's  portraits  of  dogs  have  won  for  him  the  title  "American  Land- 
seer,"  and  his  lions  and  horses  have  brought  him  an  even  wider  reputation. 

Supplementing  the  fundamental  grounding  he  received  from  Dr.  Rimmer 
by  individual  study  and  constant  practice,  he  haunted  stables,  aviaries  and 
kennels  and  spent  much  time  in  the  zoological  gardens  of  New  York  and 
Philadelphia;  also  at  Bridgeport,  Conn.,  when  Barnum's  winter  headquarters 
were  there,  where  he  especially  studied  and  sketched  lions. 

Mr.  Yope  has  published  a  series  of  game  bird  plates  entitled,  "Upland 
game  birds  and  water  fowls  of  the  United  States;"  also  "Celebrated  dogs  of 
America." 

Potter,  Edward  Clark,  (S.)  b.  New  London,  Conn.,  November  26,  1857. 
Educated  at  Amherst  College;  studied  sculpture  under  Mercie  and  Fremiet, 
Paris,  1888-9.  Has  been  a  member  of  the  National  Academy  of  Design, 
New  York,  since  1906. 

Mr,  Potter's  first  prominence  was  due  to  his  collaboration  with  Mr,  Daniel 
Chester  French  at  Chicago  in  1893  where  their  Columbus  Quadriga  and  t)ther 
groups  were  among  the  most  admired  t)f  the  many  decorations. 

Lorado  Taft  says  that  it  is  probable  that  no  American  sculptor  knows 
the  horse  quite  so  well  structurally,  as  does  Mr.  Potter, 

Mr.  Potter  has  not  restricted  himself,  however,  to  animal  sculpture  nor 
to  partnership  enterprises.  His  delightful  little  "Sleeping  faun"  is  in  the 
Art  In.stitute  of  Chicago:  his  Governor  Blair  of  Michigan  stands  in  an  ad- 


173 

mirable  repose  before  the  state  capitol  at  Lansing.  His  equestrian  statue 
of  General  Slocum  on  the  battlefield  of  Gettysburg  is  considered  a  striking 
portrait....  "There  is  no  more  impressive  sculpture  upon  the  famous 
battlefield."     (Taft's  ''History  of  American  sculpture.") 

^Ir.  Potter  has  also  executed  two  noteworthy  bas-reliefs  of  Dante  and 
Savonarola. 

Potter,  Louis,  (S.,  E.)  b.  Troy,  N.  Y.,  November  14,  1873;  d.  Seattle, 
Wash.,  August  29,  1912.  Graduated  at  Trinity  College,  Hartford,  in  1896. 
Received  first  instructions  in  art  from  Charles  Noel  Flagg.  In  1896  he  went 
to  Paris  and  remained  there  for  three  years,  studying  painting  under  Luc- 
Olivier  ^lerson  and  modeling  under  Jean  Dampt.  His  first  exhibition  was 
a  bust  of  Boutet  de  ^lonvel. 

^Ir.  Potter  spent  some  time  in  Tunis  and  while  there  was  commissioned 
to  represent  Arab  life  at  the  exposition.  For  this  service  the  Bey  conferred 
upon  him  a  decoration  of  Officer  du  Nicham  Iftikar  or  "Order  of  Renown." 
After  his  return  to  the  L'nited  States  he  devoted  himself  to  distinctively 
American  subjects.  The  Indians,  particularly,  both  Alaskan  and  American, 
became  one  of  his  favorite  subjects. 

^Ir.  Potter  took  up  the  investigation  of  the  occult  science  for  the  purpose 
of  arriving  at  some  higher  spiritual  insight.  This  he  abandoned  declaring 
the  practice  of  no  value,  possibly  harpiful. 

"The  earth  man"  and  "The  earth's  unfoldment''  were  accepted  unani- 
mously by  the  French  salon  of  1912.  "The  man"  is  groping  for  Ught;  this 
is  realized  in  the  "Earth  unfoldment" — the  spiritual  awakening' of  the  wo- 
man.    (Int.  studio  Nov.,  1912.) 

PoTTHAST,  Edward  Henry,  (P.,  I.,  Mural  P.)  b.  Cincinnati,  O.,  June  11, 
1857.  Pupil  Cincinnati  School  of  Fine  Arts.  Studied  in  Antwerp,  ^Munich 
and  Paris.  Won  Clarke  prize  N.  A.  D.,  1899;  also  several  gold  and  silver 
medals.  Member  Society  American  Artists;  associate  member  National 
Academy,  1899;  academician,  1906. 

Powell,  William  Henry,  (P.)  b.  New  York,  February  14,  1823;  d.  New 
York,  October  6,  1879. 

He  began  the  study  of  art  under  Henry  Inman  in  New  York  City  in  1843 
and  continued  his  studies  in  Paris  and  Florence.  He  first  exhibited  at  the 
National  Academy  of  Design,  New  York,  in  1838;  was  elected  an  associate 
member  of  the  acadeni}'  in  1854. 

Probably  no  historical  work  of  art  is  more  familiar  to  the  American  people 
than  his  painting,  "The  battle  of  Lake  Erie."  It  was  originally  executed 
for  the  state  of  Ohio  at  a  cost  of  $10,000.  In  1873  Mr.  Powell  reproduced 
the  work  on  a  larger  canvas  for  the  national  government  and  this  painting 
now  hangs  in  the  senate  wing  of  the  capitol  at  Washington,  D.  C. 


174 


Other  historical  paintings  are: 


"DeSota  discovering  the  "Landing  of  the  Pilgrims" 

Mississippi.' '  "Washington  at  Valley  Forge" 

"Siege  of  Vera  Cruz" 

He  also  produced  famous  portraits  of  Albert  Gallatin,  Peter  Cooper  and 
Washington  Irving.  His  portrait  of  General  McClellan  and  that  of  Major 
Anderson  are  in  the  city  hall,  New  York. 

Pratt,  Bela  L.,  (S.)  b.  Norwich,  Conn.,  December  11,  1867.  At  the  age 
of  sixteen  he  entered  the  Yale  school  of  fine  arts  where  he  studied  under 
Profs.  Neimeyer  and  Weir.  In  1887  he  entered  the  Art  Students  League  of 
New  York,  continuing  there  his  studies  under  Saint-Gaudens,  Elwell,  Chase 
and  Kenyon  Cox.  He  went  to  Paris  in  1890  where  he  studied  under  Chapu 
and  Falguiere.  While  in  the  Ecole  des  Beaux  Arts  he  received  three  medals 
and  two  prizes.  Returned  to  the  United  States  in  1892.  Was  commissioned 
for  two  colossal  groups  on  the  water  gate  of  the  Peristyle  at  the  Columbian 
Exposition,  1893. 

In  1895  and  1896  he  shared  in  the  decorations  of  the  Library  of  Congress, 
Washington,  D.  C. 

His  marble  recumbent  figure  of  Dr.  Coit  of  St.  Pauls'  School,  Concord, 
N.  H.,  was  given  honorable  mention  in  tJie  Paris  salon  of  1897. 

In  1899  he  made  the  Brown  memorial  tablet  for  Cornell  University  and 
the  bronze  portrait  bust  of  Phillips  Brooks  for  Brooks  House,  Harvard  Uni- 
versity. 

Mr.  Pratt's  contributions  to  the  Pan-American  Exposition  were  num- 
erous and  certain  of  them  of  great  beauty. 

He  has  produced  many  works  in  sculpture,  statues,  memorials,  groups, 
tablets,  busts,  medallions,  etc. 

Associate  member  National  Academy  of  Design,  1910. 

(Taft's  "History  of  American  sculpture.") 

Prellwitz,  Edith  Mitchell  (Mrs.  Henry  Prellwitz),  (P.)  b.  South  Orange, 
N.  J.,  1865.  Pupil  of  Art  Students'  League  of  New  York  under  George  de 
Forest  Brush  and  Kenyon  Cox;  Acad6mie  Julien  in  Paris  under  Bouguereau, 
Robert-Fleury  and  Courtois. 

Received  second  Hallgarten  prize  in  1894  for  her  "Hagar  and  Ishmael;" 
Dodge  prize  in  1895;  bronze  medal  at  Pan-American  Exposition,  Buffalo, 
1901.  Elected  associate  member  of  the  National  Academy  of  Design,  New 
York,  in  1906. 

1'rellwitz,  Henry,  (P.)  b.  New  York,  1865.  Pui)il  of  T.  W.  Dewing  and 
Art  Students'  League  of  New  York;  Academic  JuUen  in  Paris. 

Received  third  Hallgarten  prize  National  Academy  of  Design,  1893;  bronze 


175 

medal  Pan-American  Exposition,  Buffalo,  1901 :  medal  St.  Louis  Exposition, 
1904;  Clark  prize,  National  Academy  of  Design,  1907. 

Member  of  the  Society  of  American  Artists.  1906.  Instructor  in  life 
drawing  and  painting  at  Pratt  Institute,  Brooklyn,  X.  Y. 

Elected  associate  member  of  the  National  Academy  of  Design,  New  York, 
1906. 

Preston,  ^Iary  Wilson  (Mrs.  James  Preston)  (I.)  b.  New  York,  August 
11,  1873.  Educated  at  Oberlin  College.  Studied  art  in  New  York  art 
schools  1896-7:  Whistler  school,  Paris,  1899-1900.  Began  illustrating  for 
magazines  in  1902.     Has  illustrated: 

"Seeing  France  ^^^th  Uncle  John"    "The  incubator  baby" 
"  The  smugglers  '  "  The  diaiy  of  DeUa  " 

Proctor,  Alexander  Phi.mister,  (S.,  P.)  b.  Bozanquit,  Ont..  Canada, 
September  27,  1862.  Pupil  of  National  Academy  of  Design  and  Art  Students 
League  in  New  York:  Puech  and  Injalbert  in  Paris. 

Received  gold  medal  for  sculpture  and  bronze  medal  for  painting  at  St. 
Louis  Exposition,  1904.     Elected  member  of  the  National  Academy  1904. 

For  years  Mr.  Proctor  was  a  huntsman,  U^^ng  in  the  Rocky  Mountains 
where  he  made  a  study  of  i^ild  animals.  ReaUzing  that  he  needed  better 
training  in  1887  he  went  to  New  York  and  entered  the  classes  of  the  National 
Academy.  Being  awarded  the  Rinehart  scholarship  he  went  to  Paris  for. 
five  j'ears'  study  in  technique. 

At  the  Paris  Exposition  1900  Mr.  Proctor's  well-known  panthers  kept 
guard  at  the  entrance  on  the  Place  de  la  Concorde.  His  "Bison"  shows 
eN^idence  of  the  sculptor's  close  observation  and  acute  sense  of  the  animal 
character,  as  do  his  "Fawn,"  "Bear"  and  "Striding  panther." 

Mr.  Proctor  is  represented  in  pubhc  parks.  New  York,  Denver,  Pittsburgh, 
Buffalo  and  other  cities  of  the  United  States. 

Pyle,  Howard,  (P.,  I.)  b.  Wilmington,  Delaware,  ^Nlarch  o,  1853:  d.  Flor- 
ence, Italy,  November  9,  1911.  Was  educated  in  private  schools  and  in  the 
Art  Students  League  of  New  York;  an  instructor  at  the  Dre.xel  Institute. 
Philadelphia,  a  member  of  the  National  Institute  of  Arts  and  Letters,  associate 
member  of  the  National  Academy  of  Design,  1905,  academician,  1907. 

At  first  being  unsuccessful  in  art  he  went  into  bifeiness,  but  some  of  his 
drawings  finally  being  accepted  by  a  magazine  he  again  took  up  the  profession 
of  his  choice. 

His  first  assignment  in  illustration — a  picture  called  "Wreck  in  the  offing" 
— brought  Mm  steady  employment  in  the  field  of  art.  His  most  important 
work  was  done  in  periodical  illustration. 

Mr.  Pyle  ranked  as  our  foremost  American  illustrator.  Both  in  his  stories 
(he  was  an  author  as  well  as  an  artist)  he  exhibited  a  w^ell-defined  stvle, 


176 

characterized  by  vigorous  and  sustained  imagination  and  a  certain  charming 
quaintness  eminently  adapted  to  tales  of  fairyland  or  olden  days. 
His  principal  publications  are: 

"The  merry  adventures  of  Robin     " Twilight  land " 

Hood  "  "  The  garden  behind  the  moon  " 

"  Pepper  and  salt "  "  Semper  idem  " 

"  Within  the  capes  "  "  Rejected  of  men  " 

" The  wonder  clock "  "The     story     of     Arthur     and     his 
"The  rose  of  Paradise"  knights" 

"Otto  of  the  silver  hand"  "The  story  of  the  champions  of  the 
"  A  modern  Aladdin  "  Round  Table  " 

"Men  of  iron"  "The    story    of    Launcelot    and    his 
"Jack  Ballister's  fortunes"  companions" 

"  The  stolen  treasure  " 

"His  plates,  rich  and  often  gorgeous  in  color  as  they  were,  pictorial  in 
intent  and  spirited  in  movement,  showed  the  hand  that  was  acquainted  with 
the  shortcomings  as  well  as  the  successes  of  the  reproductive  process." 

"Throughout  his  career  he  held  pronounced  views  as  to  the  disadvantage 
of  foreign  training  and  association."     (Nation,  Nov.  16,  1911.) 

Isham  says:  "Howard  Pyle  is  the  only  man  who  seems  to  know  thor- 
oughly the  colonial  and  revolutionary  epoch." 

"He  liked  to  draw  for  the  accompaniment  of  text,  and  did  much  to  dignify 
the  practice.  His  later  work  generally  shows  him  the  complete  artist-writer, 
decorator,  illustrator  and  spiritual  thinker  as  in  the  imaginative  "Travels 
of  the  soul "  and  in  the  "  Fate  of  a  treasure  town  "  so  different  in  character." 

Several  creditable  paintings  bear  his  signature:  "One  boss  shay,"  "Old 
violin,"  "Trotting  match";  these  are  well  known. 

Arthur  Hoeber  in  the  International  Studio  for  January  1912  says:  "There 
was  something  convincing  about  Pyle's  work;  his  knights  and  ladies,  his 
revolutionary  soldiers  and  his  men  and  women  of  colonial  times  were  to  the 

manor  born  and  not  posed  models  dressed  up  for  the  occasion 

The  death  of  Mr.  Pyle  leaves  a  distinct  void  and  his  place  will  in  all  probability 
never  be  filled  for  his  woik  was  entirely  personal,  full  of  the  liveliest  interest 
with  great  literary  as  well  as  artistic  charm." 

Ranger,  Henry  Ward,  (P.)  b.  near  Rochester,  N.  Y.,  January,  1858. 
Practically  self-taught.  Went  to  New  York  and  took  a  studio  in  the  early 
7()'h  where  he  became  acquainted  with  the  works  of  the  Barbizon  men  by 
which  he  has  ever  since  been  influenced.  He  studied  many  years  in  England, 
France  and  Holland  where  he  enjoyed  an  intimacy  with  Israels,  Mauve  and 
other  leaders  of  the  Dutch  school.  Was  elected  associate  member  of  the 
National  Academy  of  Defign  in  1901;  full  member  in  19()6. 


177 

Although  the  artistic  public  knows  little  of  Henry  W.  Ranger,  yet  he  is 
unquestionably  one  of  the  few  great  artists  America  has  produced.  This 
is  largely  because  he  rarely  exhibits  in  public  displays.  He  is  opposed  to 
competition  for  honor  of  anj'  sort,  objecting  on  principle  to  distinctions 
other  than  come  from  the  ability  of  his  canvases  to  attract  serious  attention. 

In  viewing  ^Ir.  Ranger's  pictures  one  feels  the  presence  of  a  single  domi- 
nating idea.  This  dominating  central  idea  is  the  mastery  of  tone.  This 
tonal  quaUty  is  defined  as  "a  close  and  sympathetic  adjustment  of  the  hues 
and  values  of  a  picture  to  its  dominating  key — which  is  the  index  of  its  emo- 
tional meaning."     (Brush  &  P.  16:39.) 

This  tonal  quality  in  Mr.  Ranger's  work  is  joined  with  a  strong  sense  of 
structure  and  rh}-thmical  composition. 

Among  his  best  known  works  are: 

"  Autumn  woods  "  "  Hawk's  nest  pool " 

"  Golden  evening — Xoank  "  "  On  Mason's  island  " 

"  Bow  bridge  "  "  Sentinel  rock  " 

"Bradbury's  mill-pond  No.  2"  " Noank  shipyard " 

"  Spring  woods  "  "  Noank  street " 

'*  September  gale — Xoank  "  "  Flj^ing  point " 

"Peaceful  moonlight  reveries"  "The  edge  of  the  woods'' 

"  The  last  of  spring  "  "  Willows  " 

"Spring  pastures"  "Entrance  to  the  harbor" 

"A  gray  day "  " Top  of  the  hill " 

"  Saunders'  hollow  "  "  High  bridge  " 

"Connecticut  woods "  " Sea  and  sky  " 

"These  are  ample  to  show  that  underlying  all  this  \\-ide  range  is  one  per- 
fectly definite  personaHty  that  is  itself  throu^out  able  to  command  moods 
that  range  from  the  tender  and  persuasive  to  the  vigorous  and  powerful." 
(Int.  studio  29:33.) 

"His  art  is  based  on  a  profound  and  sympathetic  appreciation  of  nature. 
An  artistic  selection  from  her  various  and  at  times  conflicting  moods,  it  is 
with  all  its  science,  emotional."     (Brush  &  P.  16:41.) 

Redfield,  Edward  Willis,  (P.)  b.  Bridgeville,  Delaware,  December  19, 
1868.  At  an  early  age  he  developed  a  love  for  art  and  was  sent  to  a  local 
academy  where  he  was  instructed  in  free-hand  dra\^'ing;  later  studied  in  the 
Pennsylvania  Academy  of  the  Fine  Arts  and  under  Bouguereau  and  Robert- 
Fleury,  Paris.  He  is  a  member  of  the  Society  of  American  Artists;  was 
elected  associate  member  of  the  National  Academy  of  Design,  New  York» 
in  1904;  full  member  in  1908. 

Mr.  Redfield  has  received  many  competitive  medals. 

23  .        i 


i/. 


178 

Winter  is  his  constant  theme.  He  is  a  pioneer  in  this  country  in  the 
reaUstic  painting  of  winter,  in  which  field  he  has  few  equals  today.  The 
French  government  has  purchased  his  "February"  for  the  Luxembourg 
Gallery. 

A  few  characteristic  landscapes  are: 

"Grey  days"  "The  crest" 

"Landscape  in  April"  "The  red  barn" 

"  Brook  in  winter  "  "  December  " 

"  Hill  and  valley  "  "  The  briar  patch  " 

"  The  road  to  center  bridge  "  "  Cedar  hills  " 

"Foothills  of  the  Blue  Ridge "  " The  canal " 

"  The  hemlocks  "  "  The  old  bridge  " 

"Surf"  "The  fallen  tree" 

"  Winter  "  "  On  the  banks  of  a  river  " 

"The  three  boats "  " Center  bridge " 

"In  his  manner  and  method  of  painting,  his  work  is  a  reflection  of  the 
methods  of  the  impressionists,  which  he  has  adapted  to  his  own  use."  (Int. 
studio  41:xxix.) 

B.  O.  Flowers  writing  of  Mr.  Redfield  and  his  art  (Arena  36:20)  refers 
to  him  as  "an  artist  of  winter-locked  nature,"  and  names  "The  three  boats" 
as  a  typical  picture  of  his  work.  He  also  says:  "No  one  can  look  upon 
this  canvas  without  feeling  the  spell  of  winter's  icy  hand.  The  shroud  of 
snow,  the  skeleton  trees,  the  somber  river  and  the  idle  boats  speak  more 
eloquently  than  words  of  the  sleeping  time  of  nature."  "The  crest"  won 
second  medal  and  the  award  of  one  thousand  dollars  at  the  Pittsburgh  art 
exhibition  given  at  the  Carnegie  Institute  in  1905.  ]Many  consider  his  best 
painting  to  be  "Center  bridge"  which  has  been  purchased  for  the  permanent 
collection  of  the  Chicago  Art  Institute. 

Redfield,  Heloise  Guillou,  (Min.  P.)  b.  Philadelphia,  Pa.,  1883.  Pupil 
of  Martha  S.  Baker,  AViUiam  M.  Chase  and  Cecilia  Beaux;  Madame  LaForge 
and  Delecluse  in  Paris. 

Mrs.  Redfield's  miniatures  "are  remarkable  for  their  "paint  quality"  and 
a  carrying  force  equal  to  that  of  life-size  painting." 

"She  has  developed  a  form  of  expression  which  is  really  painting  although 
the  medium  is  water  color  and  the  scale  miniature. 

"Her  work  shows  that  she  has  a  strong  mental  conception  at  the  outset, 
virile  enough  to  bend  the  means  of  expression  to  serve  the  artist's  will." 
(Int.  studio  48:xix.) 

Reid,  Robert,  (P.,  Mural  P.)  b.  Stockbridge,  Mass.,  July  29,  1862.  Studied 
at  the  Museum  of  Fine  Arts,  Boston,  1880,  and  for  three  years  was  assistant 
instructor.     From   1885  to  1889  he  studied  in  the  Art  Students  League, 


179 

New  York,  later  went  to  Paris  and  studied  in  the  Academie  Julien  under 
Boulanger  and  Lefebvre:  Exhibited  in  the  salon  of  1889;  had  a  studio  for 
the  summer  in  Etaples-pas-de-Calais;  returned  to  Xew  York  in  1889.  He 
is  a  member  of  the  Ten  Amerieaji  Painters  and  one  of  the  eight  American 
artists  who  painted  frescoes  on  the  dome  of  the  Liberal  Arts  Building  at  the 
Columbian  Exposition,  1893.  Has  been  instructor  of  painting  in  the  Art 
Students'  League  and  in  Cooper  Institute.  Elected  member  of  the  National 
Academy  of  Design,  Xew  York,  in  1906.  Has  received  many  medals  and 
prizes. 

In  the  decoration  of  the  Library  of  Congress  five  octagons  on  the  ceiling 
of  the  second  floor  and  four  circular  panels  on  the  wall  are  his  work. 

His  decorations  for  the  International  Navigation  Company  mark  a  new 
line  of  work  in  marine  architecture  and  decoration. 

"Autumn"  is  considered  by  some  critics  the  best  picture  he  has  ever 
painted. 

A  few  characteristic  paintings  are: 

"Gladiola"  "Goldfish" 

"  Canna  "  "  White  parasol " 

' '  Tiger  Uly  "  "  Water  sprite  " 

"  Pink  carnation  "  "  Tennis  girl " 

^'Vine"  "Butterfly" 

"Fleurdelys"  "ViUageJuno" 

^'Azelea"  "The  mirror" 

"  Yellow  flower  "  "  Little  country  girl " 

"Meditation" 

"His  work  is  devoid  of  any  spiritual,  philosophical  or  philanthropic  pre- 
tensions. It  exists  for  itself  alone,  and  persistently  sings  of  youth,  sunUght, 
flowers  and  supple  rhythmic  forms  and  contours."  (Brinton  in  "Arts  and 
Decoration"  Nov.,  1911.) 

^lany  titles  of  his  pictures  are  chosen  from  the  particular  flower  which  is 
given  prominence  in  the  composition. 

Royal  Cortissoz  writes  of  Mr.  Reid's  work:  "His  paintings  have  a  durable 
charm.  The  livehness  of  his  flower-laden  girls  does  not  fade;  his  windows 
and  his  mural  decorations  are  as  persistently  persuasive.  The  reason,  I 
think,  is  that  he  has  a  true  perception  of  beauty  and  never  wearies  in  his 
pursuit  of  technical  excellence." 

"He  has  secured  from  impressionism  what  could  be  of  service  to  himself — 
the  deUcat^  discrimination  of  color  and  the  subtleties  of  various  kinds  of 
light  and  assimilated  these  facts  into  his  own  vigorous  personaUty."  .(The 
artist  24:lxiv.) 

Mr.  Reid  is  one  of  the  leading  impressionists.  His  preoccupations  are 
purely  pictorial. 


180 

Reinhart,  Charles  Stanley,  (I.)  b.  Pittsburgh, "^^ Pa.,  May  16,  1844;  d. 
New  York,  August  30,  1897.  Served  in  the  civil  war;  later  engaged  in 
mercantile  business  four  years.  In  1868  went  to  Europe  to  begin  a  systematic 
study  of  art.  Spent  one  year  in  Atelier  Suisse,  Paris,  and  then  became  the 
pupil  of  Profs.  Echter  and  Otto,  Munich.  Returned  to  the  United  States 
in  1870  and  began  illustrating  for  various  publishers;  regularly  employed  by 
Harper  &  Bro.  from  1871-7.  Was  an  associate  member  of  the  National 
Academy  of  Design,  New  York. 

Mr.  Reinhart  was  best  known  for  his  excellent  work  in  black  and  white 
in  which  he  is  without  peer.  He  is  equally  effective  in  color  work.  Was  a 
regular  contributor  to  the  Paris  salon  during  the  ten  years  he  resided  at  the 
French  capital. 

He  was  one  of  the  first  who  introduced  "painter  qualities"  into  illustrative 
work. 

RexMington,  Frederic,  (P.,  I.,  S.)  b.  Canton,  N.  Y.,  October  4,  1861;  d. 
Ridgeville,  Conn.,  December  26,  1909.  He  was  educated  at  Yale  Art  School, 
(and  it  is  said  that  his  eminence  at  college  was  on  the  football  field  rather 
than  in  the  art  classes) ;  also  studied  at  the  Art  Student's  League  of  New  York. 
Was  clerk  in  a  business  office,  then  cowboy  and  stockman  on  a  ranch  in  the 
west;  subsequently  illustrator  for  magazines  treating  miUtary  and  American 
subjects  and  during  1897-8,  Cuban  scenes.  Is  well  known  as  a  painter, 
sculptor,  illustrator  and  author.  Associate  member  of  National  Academy 
of  Design,  1891.  Mr.  Remington  was  the  most  eminent  and  successful  of  a 
half  dozen  painters  who  have  made  the  field  of  Indian  warfare  and  cowboy 
adventure  their  own.  Essentially  an  illustrator,  he  never  became  a  "  painter's 
painter"  but  he  was  the  people's  favorite  through  the  subjects  he  chose. 
"The  Indian  appealed  to  him  not  in  any  histrionic  way  ....  but  just  as  a 
human  creature." 

Cortissoz    says:     "His   night   scenes ,  are   both   veracious   and   beautiful 

and  they  exert  a  very  original  charm.     He  knows  how  the  light  of 

the  moon  or  of  the  stars  is  diffused,  how  softly  and  magically  it  envelops  the 
landscape.  His  picture  "The  gossips"  is  one  of  the  handsomest  and  most 
convincing  Indian  studies  ever  painted." 

Familiar  paintings  are: 

"  The  luckless  hunter  "  "  Trailing  Texas  cattle  " 

"  The  moose  country  "  "  The  chieftain  " 

"The  buffalo  runners"  "Picture  writing" 

"The  fall  of  the  cowboy"  "The  winter  campaign" 

"  Coming  to  call "  "  Among  the  led  horses  " 

"An  Indian  trapper"  "Driving  cattle  on  the  plains" 

"Downing  the  nigh  leader"  "Indian  runner" 
"Advance  guard" 


181 

In  writing  of  an  exhibition  of  his  pictures,  an  eminent  art  critic  says: 
^'Two  aspects  of  his  abiUty  as  a  painter  of  life  were  brought  out  in  sharp 
relief  by  this  collection  of  pictures — his  authentic  interpretation  of  the  Indian, 
and  his  fidelity  to  things  as  they  are  amongst  our  soldiers  and  cowboys." 

His  ponies  are  full  of  "horse  character"  and  connoisseurs  agree  that  in  the 
painting  of  the  horse,  Remington  surpassed  Meissonier,  Fromentin  and 
Detaille.  His  equestrian  bronzes  are  picturesque  and  spirited.  He  ap- 
proaches sculpture  from  the  pictorial  rather  than  the  monumental  side. 

Lorado  Taft  says:  "Mr.  Remington  is  not  an  interpreter,  nor  is  he  likely 
■ever  to  conceive  a  theme  sculpturally." 

His  "Bronco  buster"  and  "Wounded  bunkie"  are  his  leading  sculpture. 

Reuterdahl,  Hexry,  (I.  and  P.)  b.  Malmo,  Sweden,  August  30,  1871. 
Member  Society  of  Illustrators  and  American  Water  Color  Society.  Repre- 
sented at  the  45th  annual  exhibition  of  the  American  Water  Color  Society. 

"Henr\'  Reuterdahl  stands  alone  in  his  wonderfully  realistic  paintings  of 
steamships  laboring  in  tempestuous  waters.  He  has  dramatized  the  war- 
ship, the  destroyer,  the  liner  and  the  "  tramp  "  as  no  other  painter  and  shows 
in  his  exhibition  pictures  a  high  indication  of  his  attainment  as  an  illustrator 
— and  vice  versa." 

Rhixd,  J.  Massey,  (S.)  b.  Edinburgh,  Scotland,  July  9,  1860.  From  his 
€arliest  childhood  ^Ir.  Rhind  has  modeled  in  clay.  His  father,  John  Rhind, 
R.  S.  A.,  gave  him  instructions  in  art  and  while  still  very  young  he  was  sent 
to  an  art  school  in  Lambeth  where  he  became  a  pupil  of  Delau,  the  French 
sculptor,  at  that  time  a  poUtical  exile.  Later  Rhind  studied  at  the  Royal 
Academy.  He  took  three  gold  medals  in  one  year  at  South  Kensington, 
being  the  first  student  who  ever  scored  such  a  success.  Went  to  Paris,  then 
back  to  England  and  came  to  the  United  States  in  1889. 

When  he  submitted  the  design  for  the  bronze  doors  of  Trinity  church, 
the  world  in  general  recognized  him  as  a  powerful  sculptor.  His  design  for 
a  fountain  in  Washington  Park,  Albany,  to  be  erected  as  a  memorial  to  Senator 
Rufus  King,  was  accepted.  "For  originality  and  dramatic  effect,  there  is 
nothing  in  America  to  surpass  it." 

Mr.  Rhind's  work  is  to  be  seen  in  several  of  the  great  business  buildings 
erected  in  New  York  City  and  in  the  decorative  figures  on  the  front  of  the 
Alexander  Commencement  Hall  at  Princeton.  One  of  his  latest  works  is  the 
Calhoun  statue,  and  one  of  his  finest  examples  of  interior  decorative  work 
is  in  the  mantel  in  the  great  hall  of  the  Yerkes  New  York  house.  (Munsey 
14:671.) 

New  York  sculptors  say  that  the  eighteen  symbolic  figures  in  the  frieze 
of  the  Farmers  Deposit  Bldg.,  in  Pittsburgh,  are  the  finest  examples  of 
architectural  sculpture  in  the  United  States. 


182 

Richards,  William  Trost,  (P.)  b.  Philadelphia,  Pa.,  November  14,  1833; 
d.  Newport,  R.  I.,  November  8,  1905.  At  an  early  age  he  turned  his  at- 
tention to  the  study  of  art  and  received  his  first  instructions  from  Paul  Weber. 
In  1855  he  went  to  Europe,  studying  in  Florence,  Rome  and  Paris.  He  was 
an  exhibitor  in  the  Paris  salon,  the  Roj^al  Academy  and  Grosvenor  Gallery, 
London.  Was  an  honoraiy  member  of  the  National  Academy  of  Design,. 
New  York. 

A  painter  of  landscapes  and  marines,  his  best  works  in  oil  are: 

"  The  Wissahickon  "  "  ]Mid-ocean '' 

-" New  England  coast "  "At     Atlantic     City"     (Paris    salon,. 

"Mid-summer"  1873) 

"  June  woods  "  "  Wood  scene  " 

"  Spring  "  "  Summer  afternoon  " 

"Ebbtide"  "Old  orchard  at  Newport" 

"The  inlet  near  Newport"  "Out  in  the  country" 

"  Tulip  trees  "  "  Sea  and  sky  " 

"Land's  end" 

"So  carefully  painted  in  some  of  Richards'  landscapes  are  the  leaves, 
grasses,  grain-stalks,  weeds,  stones  and  flowers,  that  we  seem  not  to  be  looking 
at  a  distant  prospect,  but  lying  on  the  ground  with  herbage  and  blossoms 
directly  imder  our  eyes."     (Tuckerman.) 

"Richards  was  one  of  the  first  American  painters  who  adopted  the  pre- 
Raphaelite  style  of  treatment  in  their  pictures;  this  was  in  1858,  and  since 
that  time  no  artist  in  this  country  has  achieved  greater  success  in  the  pro- 
fession. His  drawing  is  never  at  fault  and  the  crispness  of  his  touch  is  charm- 
ing."    (Art  Journal,  Aug.,  1877.) 

In  writing  of  the  art  of  William  T.  Richards  in  "  Masterpieces  of  the  sea," 
Harrison  S.  Morris,  says:  "He  was  a  realist  ....  the  things  he  painted,  the 
sea,  the  sky,  all  outdoors — these  things  were  real  to  him  and  were  not  things 
to  play  tricks  with.  He  did  not  paint  a  sunrise  effect,he  painted"  Sunrise." 
He  did  not  paint  "Fog — an  impression — "  he  painted  fog  an  actuality." 

Robinson,  Theodore,  (P.,  I.)  b.  Irasburg,  Vt.,  June  3,  1852;  d.  April  2, 
1896.  Studied  art  in  Paris  under  Carolus-Duran  and  G6rome.  He  spent  the 
years  1884-88  with  Monet  at  Giverny,  then  returned  to  this  country  and 
devoted  himself  to  the  Delaware  and  Hudson  River  Canal  scenery.  In 
earlier  years  he  did  a  great  deal  of  mural  painting  in  New  York,  and  he  was 
well-known  as  an  illustrator. 

"He  accepted  the  impressionist  theory  that  the  first  consciousness  we 
receive  of  an  object  consists  of  a  confusion  of  color  dots.  But  he  painted 
merely  in  prismatic  color  strokes,  varying  in  size  according  to  the  subject." 
(Hartmann.) 


183 

"In  many  of  his  works,  especially  in  "The  ^rl  and  cow"  he  shows  the 
real  benefit  the  impressionist  doctrine  may  convey  to  those  whose  individual 
strength  repels  ill-digested  imitation.  He  revelled  in  light  and  analyzed  it 
with  subtle  intuition  growing  emotional  at  every  sunburst."  Was  strictly 
a  neo-impressionist. 

Robinson  had  the  faculty  to  impress  one  with  the  spontaneity  of  his  ex- 
pression. His  work  always  seems  to  be  done  au  premier  coup.  He  possesses 
the  true  tonality  of  nature.  The  same  tone  of  nature  is  found  in  his  "  Winter 
landscape"  as  in  his  **The  girl  and  cow." 

While  studying  imder  Carolus-Duran  and  Gerome  he  painted  his  "Study 
of  a  girl "  the  first  of  his  pictures  to  be  accepted  by  the  Paris  salon.  In  1890 
"Winter  landscape"  was  awarded  the  Webb  prize  as  the  best  landscape  by 
an  artist  under  forty  years  of  age.  In  1892  he  won  the  Shaw  prize  of  $1,000 
for  the  figure  painting  in  his  "  In  the  sun." 

Soon  after  his  death  in  1896  one  of  his  pictures  was  oflfered  as  a  gift  to  the 
^letropohtan  Museum,  Xew  York,  and  the  gift  was  declined.  Within  the 
last  four  years  the  museum  has  acquired  thvee  of  his  pictures  and  exhibits 
a  fourth  which  is  loaned. 

Cox  writes  of  the  "cold  and  intellectual  gaiety"  of  Robinson's  views  of 
Giverny. 

Rogers,  Johx,  (S.)  b.  Salem,  Mass.,  October  30,  1829;  d.  New  Canaan, 
Conn.,  July  26,  1904. 

He  was  compelled  to  abandon  the  profession  of  civil  engineering  on  account 
of  weak  eyes  and  entered  a  machine  shop  and  modeled  in  clay  during  his 
leisure  moments.  With  the  exception  of  three  months  in  Rome  in  1850 
when  he  worked  in  the  studio  of  Mr.  Spencer,  an  EngUshman,  he  was  self- 
taught.  In  1859  he  executed  the  first  of  his  small  plaster  gioups  which  met 
\\'ith  such  popular  success.  He  sent  twenty-nine  "Roger's  groups"  to  the 
Centennial  Exhibition  in  Philadelphia  in  1876,  and  received  the  highest 
award  at  the  Columbian  Exposition  in  1893  for  his  dignified  seated  figure  of 
Lincoln. 

Mr.  Rogers  was  elected  a  member  of  the  National  Academy  in  1863,  and 
belonged  to  the  National  Sculpture  Society.     (American  Art  Annual,  Vol.  5.) 

RoLSHovEX,  Julius,  (P.)  b.  Detroit,  Mich.,  October  28,  1858.  Studied  art 
in  Diisseldorf  and  Munich  where  he  met  Frank  Duveneck  with  whom  he 
also  studied,  accompaming  him  to  Italy.  In  1882  he  went  to  Paris  and 
worked  in  the  studio  of  Robert-Fleury.  He  has  exhibited' in  Paris,  Mimich, 
BerUn,  London,  Brussels,  Vienna  and  Florence  and  in  the  principal  cities  of 
the  United  States  and  received  honors  and  medals  and  artistic  recognition 
from  these  exhibitions. 

Has  instructed  art  classes  in  Paris,  London  and  Florence.  Is  a  meml>er 
of  the  Munich  Secessionists,  the  Soci^te  Nationale  des  Beaux  Arts,  Paris, 


184 

and  the  Chelsea  Art  Club,  London.  His  present  address  is  15  "Viale  Miche- 
langelo, Florence,  Italy. 

Drawing  is  perhaps  the  most  noticeable  strength  of  INIr.  Rolshoven's  work. 
He  is  also  noted  for  the  poetic  way  in  which  he  treats  interior  and  out-of-door 
scenes. 

His  beautiful  nude  "La  Venere  bruna,"  an  echo  of  his  Paris  period,  done 
in  pastel,  was  given  the  place  of  honor  in  the  first  pastel  exhibition  in  London. 
His  work  has  of  late  years  rebuilt  itself  upon  a  stronger  and  finer  line.  This 
the  discriminating  critic  finds  in  "The  girl  with  the  kitten." 

"He  recently  exhibited  two  paintings  in  the  salon  of  the  Chicago  Art 
Institute  that  are  particularly  interesting:  in  "The  cloister.  Church  of  St. 
Francis  d'Assisi"  he  gives  a  peaceful  solemn  vision  of  the  interior,  radiant 
in  sparkling  sunlight;  while  "The  prayer"  bathed  in  a  mysterious  silence, 
gleams  cool  in  the  pale  evening  light."     (Int.  studio  27:ciii.) 

In  his  Venetian  pictures  there  is  nothing  of  the  sunny  plaj^  of  light — on  the 
contrary,  powerful  greenish-blue  tones  are  spread  out  with  an  effect  of  dark 
and  solemn  gravity.     (Miither.) 

"Great  grandmother's  finery"  is  charming  in  treatment. 

There  are  two  distinct  influences  clearly  traceable  in  Mr.  Rolshoven's 
work:  the  eye  and  hand  for  form,  for  line,  learned  in  his  goldsmith  period 
and  perfected  under  Italian  skies  ....  and  the  inspiration  of  character  won 
through  Duveneck  from  the  Dutch  and  Flemish  schools.     (Tlie  artist,  23 :185.) 

The  Rome  correspondent  writing  on  American  artists  at  the  exposition  of 
1911,  says:  "One  of  the  best  portraits  of  women  in  the  exhibition  is  that 
by  Julius  Rolshoven.  This  fine  painting  is  rich  in  color  and  delightful  in  its 
treatment." 

Mr.  Rolshoven  recently  exhibited  his  latest  paintings  in  Paris  and  the  Paris 
edition  of  the  New  York  Herald  contains  a  flattering  comment  on  the  work 
of  this  Detroit  artist,  mentioning  particularly  "Expectancy,"  "The  three 
graces,"  "The  dancer  in  white"  and  the  "Salon  of  Mona  Lisa." 

Roth,  Frederick  George  Richard,  (S.)  b.  Brooklyn,  N.  Y.,  April  28, 
1872.  Pupil  of  Hellman  in  Vienna,  1892,  and  Academy  of  Fine  Arts,  Berlin, 
1894.  Received  silver  medal  at  St.  Louis  Exposition,  1904.  Elected  full 
member  of  the  National  Academy  in  1906.  Member  of  the  National  Sculpture 
Society.     Has  exhibited  in  Europe  and  the  United  States. 

Mr.  Roth  works  in  clay,  glazed  porcelain,  bronze  and  marble.  His  group 
of  polar  bears  won  his  election  to  the  National  Academy.  He  designed  the 
architectural  tigers  for  one  of  the  gates  of  Princeton  University. 

"He  is  capable  of  producing  a  portrait  of  an  individual  creature  as  well 
as  a  symbol  of  the  species."     (Arts  &  D.,  2:222.) 

RucKSTUHL,  Frederick  Wellington,  (S.)  b.  Breitenbach,  Alsace,  Ger- 
many, May  22,  1853;  came  to  America  when  one  year  old.     Pupil  of  Julian 


185 

Academy  under  ^lercie,  Boulanger  and  Lefebvre.  Received  honorable 
mention  in  the  Paris  salon  1889.  For  many  years  was  secretary  of  the  Na- 
tional Sculpture  Societ}'. 

"Without  question  Mr.  Ruckstuhl's  most  beautiful  work  is  his  marble 
figure  of  "  Evening  "  which  he  modeled  in  Paris  and  which  won  him  an  honor- 
able mention  at  the  salon  of  1888  and  a  medal  at  the  Columbian  Exposition. 
It  is  a  poetic  conception  verj-  simply  expressed  in  a  pose  of  unusual  grace, 
and  reveals  a  close  study  of  nature."     (Taft.) 

Other  well  known  works  of  his  are: 

"Mercury  teasing  the  eagle  of  Jupiter,"  in  St.  Louis. 

"Solon"  in  the  Librarj'  of  Congress  and 

"Wisdom"  and  "Force"  the  two  seated  figures  which  guard  the  entrance 
of  the  Appellate  court  in  New  York  Citj*. 

One  of  his  latest  and   most  popular  works  is  "The  spirit  of  the  confed- 
eracy. ' ' 
(Taft.) 

Ryder,  Albert  Pinkham,  (P.)  b.  New  Bedford,  Mass.,  March  19,  1847. 
Studied  art  under  William  E.  ^larshall  and  at  the  National  Academy  of 
Design,  New  York.  Practically  self-taught.  Member  of  the  National 
Academy  of  Design,  New  York,  since  1906. 

The  titles  of  some  of  his  characteristic  works  give  an  idea  of  the  scope 
of  his  subjects: 

"  Jonah  and  the  whale  "  "  The  tempest " 
"  Christ  appearing  unto  Mary  "  "Desdemona" 

"  The  stor>'  of  the  cross  "  "  ^Macbeth  on  horseback  " 

"  Charity  "  "  Meeting  the  three  witches  " 

"  The  forest  of  Arden  "  "  Autumn  landscape  " 

"  The  Uttle  maid  of  Arcady  "  "  Moonhght " 

-  "  The  two  lovers  "  '  "  The  old  mill " 

"  Constance  "  "  The  wandering  cow  " 

"The  sisters"  "The  race" 

' '  The  passing  song  "  "  Chase  " 

"Siegfried"  "Poet     on      Pegasus      visiting     the 
" Flying  Dutchman "  muses" 

"  The  temple  of  the  mind  "  "  The  horseman  " 

Charles  DeKay,  the  art  critic,  who  really  discovered  Ryder,  wTites  of  him 
as  "a  colorist  quite  apart  from  schools  and  masters  who,  like  Homer  D. 
Martin,  is  what  might  be  called  an  instructive  colorist " 

Generally  small  in  size,  often  jewel-like,  inwardlj^  more  glowing  and  charm- 
ing than  Limoges  enamels,  his  pictures  deal  in  color  as  the  works  of  a  gi'eat 
born  composer  deal  in  music. 


186 

"His  moonlight  scenes  are  imbued  with  the  witchery  and  mystery  of  night, 
as  perhaps  no  one  else  has  presented  it  ....  His  is  that  obscure  illusive 
quality  that  is  to  painting  what  Browning  is  to  poetry." 

Isham,  in  his  "History  of  American  Painting,"  says:  "Ryder's  pictures 
differ  from  Whistler's  as  well  as  from  Fuller's  in  being  not  transcriptions 
from  nature  but  creations  of  the  imagination,  and  in  striving  to  convey 
ideas,  vague  but  poetic." 

"His  sense  for  colors — gorgeous,  ponderous  as  it  is  in  his  blues,  soft,  cares- 
sing in  his  yellows,  and  weird  in  his  lilac  greens — seems  to  me  but  an  inferior 

quality   Ryder  is  a  chiaroscurist,  an  ideal  black  and  white  artist, 

.  with  special  aptitude  for  moonlight  effects.  One  must  see  his  "  Siegfried " 
to  realize  how  he  can  flood  a  picture  with  sensuous  bewitching  poetry.  And 
in  order  to  fathom  how  far  he  can  climb  in  grandeur  of  thought  and  com- 
position, one  must  study  his  "Jonah."  His  "Flying  Dutchman"  is  a  picture 
as  impressive  as  religious — one  of  the  few  that  sound  the  note  of  sublimity, 
which  is  after  all  the  highest  in  art."     (Hartmann.) 

Walter  Pach,  the  writer,  in  the  L'art  et  les  artistes,  names  Ryder  as  one 
of  the  three  great  American  painters,  and  says:  "His  art  is  like  the  playing 
of  some  master  violinist,  color  and  form  and  other  painters'  harmonies  being 
the  strings  of  his  fine  instrument,   ....   He  chooses  his  subjects  from  the 

poets and  out  of  them  he  produces  pictures  of  profound  and  poignant 

beauty,  intensely  personal  expressions  of  his  own  rare  spirit." 

Saint-Gaudens,  Augustus,  (S.)  b.  Dublin,  Ireland,  March  1,  1848;  d. 
Cornish,  N.  H.,  August  3,  1907.  At  the  age  of  six  months  he  came  with  his 
family  to  America.  When  thirteen  he  was  apprenticed  to  Louis  Avet,  a 
cameo  cutter.  From  1864-7  he  studied  drawing  at  night  at  Cooper  Union 
and  at  the  National  Academy  of  Design,  and  in  1867  went  to  Paris  to  study 
sculpture.  In  1869  he  entered  Jouffroy's  studio  in  the  Ecole  des  Beaux 
Arts.  While  in  Rome,  1870-2  he  produced  the  statues  of  "Hiawatha"  and 
"Silence;"  also  experimented  in  painting,  making  studies  of  the  Campagna. 
Returned  to  the  United  States  in  1874.  Associate  member  of  National 
Academy  of  Design,  1888;  full  member  1889. 

His  five  monuments  in  the  remarkable  series  of  memorials  to  civil  war 
heroes  are  the  Farragut  statue  and  the  equestrian  statue  of  Sherman  in  New 
York,  Shaw  memorial  in  Boston,  and  the  statues  of  Lincoln  and  Logan  in 
(/hicago. 

The  "Head  of  Christ"  for  the  Phillips  Brooks  memorial  was  one  of  the 
last  things  that  Saint-Gaudens  did  with  his  own  hands. 

An  eminent  critic  has  called  the  Sherman  monument  the  third  greatest 
equestrian  statue  in  the  world,  placing  only  the  "CoUeoni"  of  Verrocchio 
and  the  "Gattamelata"  of  Donatello  before  it.  His  "Deacon  Chapin"  ia 
probably  the  finest  embodiment  of  Puritanism  in  our  art. 


AUGUSTUS    SAINT-GAUDEXS. 


188 

Kenyon  Cox  says:  "I  believe  Saint-Gaudens  is  the  most  complete  master 
of  relief  since  the  fifteenth  century." 

The  true  quahty  of  Saint-Gaudens  is  best  shown  in  the  purely  ideal  figure 
which  symbolizes  an  emotion  of  the  human  heart.  This  is  his  famous  statue 
of  "Grief"  placed  in  Rock  Creek  cemetery  near  Washington,  D.  C.  In  the 
final  summing  up  of  all  his  works,  it  is  this  statue  which  best  expresses  the 
power  of  Saint-Gaudens  to  express  the  soul  in  stone. 

France  made  him  an  officer  of  the  Legion  of  Honor  and  the  art  societies 
of  France  elected  him  to  the  highest  position  within  their  gift.  But  the 
honors  which  he  valued  most  of  all  were  the  degrees  conferred  upon  him  by 
Harvard  and  Princeton — the  gratifying  token  of  recognition  by  great  centers 
of  learning  of  the  fact  that  he  had  done  notable  work  in  raising  American 
sculpture  to  its  present  heights.     (Craftsman  13:59.) 


y 


Sargent,  John  Singer,  (P.)  b.  Florence,  Italy,  January  12,  1856,  of 
American  parents.  From  his  infancy  he  breathed  an  atmosphere  of  culture 
and  art.  He  began  his  art  studies  at  the  Academy  of  Fine  Arts  in  Florence 
and  continued  them  in  the  studio  of  Carolus-Duran,  Paris.  At  the  age  of 
twenty-two  he  received  honorable  mention  in  the  Paris  salon  for  his  "Fishing 
excursion."  In  1879  he  sprang  into  notoriety  with  his  portrait  of  his  master, 
Carolus-Duran.  His  "El  Jaleo,"  a  dancing  girl,  created  a  sensation  in  1882; 
Madame  Gauthereau's  portrait  made  him  famous  and  "Carmencita"  was 
purchased  by  France  for  the  Luxembourg  Gallery.  His  charming  "Car- 
nation, Uly,  lily,  rose,"  was  purchased  for  the  Royal  Academy,  London. 

Hartmann  says  that  the  pictures  on  which  Sargent's  fame  now  chiefly 
rests  were  painted  before  he  was  twenty-eight  years  old,  and  that  this  mar- 
velous feat  stands  almost  unsurpassed  in  the  history  of  modern  art.  How- 
ever, the  foundation  of  Sargent's  popularity  in  America  was  laid  when  he 
received  a  commission  to  decorate  a  hall  in  the  Boston  Public  Library,  The 
"Frieze  of  the  Prophets"  carried  the  name  of  John  Singer  Sargent  into  every 
corner  of  the  United  States,  but  it  is  his  portrait  painting  that  has  brought 
him  world-fame. 

Isham  says:  "With  all  limitations  and  reserves  made,  he  has  talents 
manifest  and  unmistakable  that  give  him  securely  his  position  as  the  first 
portrait  painter  since  Reynolds  and  Gainsborough." 

Kenyon  Cox  writes:  "Since  the  death  of  Whistler,  Mr.  Sargent  holds 
by  all  odds,  the  highest  and  most  conspicuous  position  before  the  world 
of  any  artist  whom  we  can  claim  in  some  sort  as  American — indeed,  he  is 
today  one  of  the  most  famous  artists  of  any  country,  easily  the  first  painter 
of  England  and  one  of  the  first  wherever  he  may  find  himself." 

"Sargent's  canvas  vibrates  with  the  exquisite  quality  of  the  theme  itself, 

in'all  its  integrity.     That  is  his  great  gift If  there  is  a  living  painter 

in  whose  interpretations  of  character,  confidence  can  be  placed,  it  is  Mr. 
Sargent His  range  is  apparently  unlimited."     (Cortissoz.) 


CopjTight  by  J.  E.  Purdy,  Boston. 

JOHN    SIXGER    SARGENT. 


mo 

Child  in  his  ''Art  and  criticism"  has  this:  ''Mr.  Sargent  is  an  artist 
in  the  noble  sense  of  the  term;  he  will  never  consent  to  be  commonplace; 
he  loves  rarity;  he  interests  always  by  the  distinction  of  an  effort  which 
is  not  that  of  ordinary  men." 

"Possibly  the  feature  of  Mr.  Sargent's  work  that  excites  the  greatest 
admiration  in  his  fellow-artists  is  his  facile  handling  of  the  brush.  The 
final  result  of  it  gives  one  the  impression  of  w^ork  done  easily — in  fact  rather 
improvised  than  premeditated.  But  the  impression  is  somewhat  misleading, 
every  stroke  is  calmly  calculated,  every  touch  is  coolly  designed."  (John 
C.  Van  Dyke.) 

Mr.  Sargent  is  a  member  of  the  Royal  Academy,  London,  of  the  Societe 
des  Beaux  Arts,  Paris,  National  Academy  of  Design,  New  York,  a  chevalier 
of  the  Legion  of  Honor,  France,  and  his  works  are  hors  concours  in  the  Paris 
salon. 

The  highest  honor  of  artistic  distinction  came  to  him  in  1897  when  he 
was  invited  to  paint  a  portrait  of  himself  to  be  hung  in  the  famous  por- 
trait gallery  of  the  Uffizi,  Florence,  Italy.  As  none  but  truly  great  and 
world-famous  artists  are  thus  honored,  this  compliment  ensures  to  him 
undying  fame. 

Sartain,  William,  (P.)  b.  Philadelphia,  Pa.,  November  21,  1843.  Pupil 
Pennsylvania  Academy  of  the  Fine  Arts,  Bonnat  and  Ecole  des  Beaux  Arts 
in  Paris.  Studied  also  in  Italy  and  Spain.  Won  silver  medal  in  Boston; 
honorable  mention  Pennsylvania  Academy  of  the  Fine  Arts,  bronze  medal 
Pan-American  Exposition,  Buffalo,  1901.  Is  an  associate  member  of  the 
National  Academy.  Was  one  of  the  founders  of  the  Society  of  American 
Artists,  president  New  York  Art  Club,  taught  life  classes  in  Art  Students 
League,  New  York. 

"There  is  in  Mr.  Sartain's  work  a  delicacy  of  tone  in  the  simple  masses 
not  striking  at  first,  but  whose  absolute  justness  is  recognized  on  longer 
acquaintance.  Some  of  his  Moorish  street  scenes  have  a  depth  of  lumin- 
ous atmosphere  enveloping  the  figures  in  the  way  comparable  to  that  of 
Pieter  de  Hooge."     (Isham.) 

Cox  writes  of  the  romantic  feeling  and  deep  golden  tone  of  Sartain's 
"Kasba." 

ScHiLLE,  Alice,  (W.  C,  Min.  P.)  b.  Columbus,  Ohio.  Pupil  of  Columbus 
Art  School,  Art  Students'  League  and  New  York  School  of  Art  under  William 
M.  Chase,  and  Prinet^  Collin  and  Courtois  in  Paris.  Won  the  New  York 
Woman's  Art  Club  prize  in  1908. 

"Sufficiently  an  impressionist  to  be  clever  and  not  sufficiently  pledged  to 
impressionism  to  run  into  the  amazing  technical  vagaries  of  that  cult.  (Int. 
studio  45:xliii.) 


191 

Schneider,  Otto  J.,  (P.,  E.)  b.  1875.  Spent  his  childhood  in  Atlanta, 
HI.,  moving  to  Chicago  at  the  age  of  twelve.  Received  instructions  at 
the  Chicago  Art  Institute.  Was  employed  £is  an  illustrator  for  a  number 
of  years  in  the  art  departments  of  various  metropoUtan  newspapers;  later 
took  up  his  residence  in  New  York  where  he  has  taken  up  etching. 

Mr.  Schneider's  portraits  of  men  exhibit  his  strongest  work.  The  profile 
portrait  of  Ralph  Waldo  Emerson  has  the  ideaUstic  quahties  of  a  great 
portrait.  The  portrait  of  the  late  President  McKinley  in  the  calm  dignity 
that  was  part  of  the  man,  inspired  a  memorable  etching.  Again  power  is 
shown  in  the  analysis  and  presentment  of  the  unique  pereonaUt}'  of  Elbert 
Hubbard;  in  the  dry-point  of  Dr.  Quinn  the  musician,  in  profile;  in  the  full 
face  of  Mr.  A.  F.  Brooks,  the  painter,  and  again  in  the  portrait  of  Bror  J. 
Olsson-Nordfeldt,  the  etcher  and  painter.  In  each  the  salient  characteristics 
are  portrayed  in  their  true  light.  "  His  portraits  of  women  are  fantasies  on 
the  motif  of  grace;  those  of  men  penetrate  character  and  are  documents  of 
human  endeavor;  the  street  study  opens  to  another  impersonal  interest  and 
in  the  landscape  Mr.  Schneider  has  reached  a  point  worthy  of  the  highest 
appreciation.  Into  his  picture  "A  quiet  nook"  there  is  reflection  of  the 
artist's  own  consciousness  and  his  beUef  "that  nature  never  did  betray  the 
heart  that  loved  her."     (Lena  M.  McCauley.) 

ScHOFiELD,  W.  Elmer,  (P.)  b.  Philadelphia,  Pa.,  September  9,  1867. 
Pupil  of  the  Pennsylvania  Academy  of  the  Fine  Arts  and  in  Paris  under  Bou- 
guereau,  Doucet,  Ferrier  and  Edmond  Aman-Jean.  Received  honorable 
mention  at  exhibition  of  Art  Club  of  Philadelphia  in  1898,  also  at  Paris 
Exposition,  1900;  Webb  prize.  Society  of  American  Artists,  1900;  first  Hall- 
garten  prize,  National  Academy  of  Design,  New  York;  honorable  mention, 
Carnegie  Institute,  Pittsburgh;  Sesnan  gold  medal  of  honor,  Carnegie  In- 
stitute, Pittsburgh,  1904.  Member  of  the  National  Academj'  of  Design, 
New  York,  since  1907. 

Represented  in  permanent  collections  in  Buffalo  ^luseum  of  Art,  Penn- 
sylvania Academy  of  the  Fine  Arts,  Cincinnati  ^luseum,  Carnegie  Institute, 
Pittsburgh,  John  Herron  Art  Gallerj',  Indianapolis,  and  Corcoran  Gallerj'  of 
Art,  Washington. 

Best  known  paintings  are 

"  January  evening  "  "  Sand  dunes  near  Lelant " 

"  Winter — snow  study  "  "  The  packet  boat " 

"Winter  in  Picardy"  "Early  evening,  Boulogne" 

' '  The  wood  road  "  ^  "  Below  the  lock  " 

"  February  morning  "  "  Early  days  of  spring  " 

"Midwinter  thaw"  "March  snow" 


192 

"Mr.  Schofield  is  a  landscape  painter  who  favors  snowscapes;  he  paints 
his  landscapes  after  the  fashion  of  the  Manet  impressionism — of  seeing 
things  flat,  as  broad  masses." 

"Schofield  lays  on  his  pigment  in  broad  touches,  and  the  picture  has 
a  tendency  to  lie  on  the  surface  of  the  canvas  as  a  decorative  pattern.  His 
subjects  have  the  quality  of  a  tapestry  of  delicate  gray  and  buff  spots." 
(Isham.) 

"Essentially  a  man  of  the  open,  ^Ir.  Schofield  makes  the  spectator  con- 
scious of  a  rugged  quality  dominating  his  canvases  wherein  detail  is  sub- 
ordinated to  mass  and  general  effect To  his  excellent  draughtsman- 
ship ]\Ir.  Schofield  added  a  distinguished  feeling  for  tone  and  color,  and  al- 
ways he  has  had  an  innate  sense  of  the  pictorial  grasping  intuitively  the 
possibilities  of  the  picturesque  in  a  composition  way."     (Arthur  Hoeber.) 

Scott,  Emily  Maria  Spaford,  (P.)  b.  Springwater,  N.  Y.,  August  27, 
1832.  Mrs.  Scott's  first  attempt  at  drawing  was  in  the  copying  of  fashion 
plates,  because  when  she  was  young  pictures  in  the  family  were  few  and  far 
between  and  even  chromos  were  scarce.  She  was  educated  in  the  pubhc 
schools  of  Springwater  and  at  Ann  Arbor,  Michigan.  In  1871  she  went  to 
New  York  City  to  study  at  the  National  Academy  of  Design  and  later  entered 
the  Art  Students  League.  In  1872  she  went  to  Europe  spending  two  years 
in  study  in  Paris  and  in  the  cities  of  Italy  and  other  countries.  Since  1876 
her  home  has  been  in  New  York  City.  March  1,  1853,  Miss  Spaford  was 
married  to  Charles  Scott  of  Ann  Arbor,  Michigan. 

"Roses  have  been  Mrs.  Scott's  favorite  study  and  she  paints  them  with  a 
tenderness  and  sentiment  rarely  seen  in  flower  pictures." 

ScuDDER,  Janet,  (S.)  b.  Terre  Haute,  Ind.  Pupil  of  Rebisso  in  Cin- 
cinnati and  Lorado  Taft  in  Chicago;  in  Paris  studied  first  in  the  Vitti  Aca- 
demie  and  Colarossi's  night  school,  then  under  MacMonnies.  After  an  ab- 
sence of  three  years,  she  returned  to  the  United  States  and  opened  a  studio 
in  New  York.  Her  first  commission  was  for  a  lamp  post  and  her  second, 
the  seal  for  the  Bar  Association  of  New  York.  After  receiving  commissions 
for  several  memorial  tablets  and  portraits  in  relief,  she  again  went  to  Paris 
and  from  there  to  Florence,  Italy,  ^^ihere  she  had  a  studio  for  several  years. 

Miss  Scudder  has  been  honored  in  Paris,  five  of  her  medallion  portraits 
having  been  purchased  by  the  French  government,  and  these  are  the  first 
work  of  an  American  woman  sculptor  to  be  admitted  to  the  Luxembourg. 
These  medallions  are  in  bas-relief  in  marble,  framed  in  bronze;  casts  of  them 
have  been  made  in  gold  and  silvei-.  One  is  said  to  be  the  largest  medallion 
ever  made  in  gold,  being  about  four  inches  long.  (Clements  "Women  in 
Fine  Arts.") 

Her  portrait  medallion  of  Bishop  Hare  is  especially  notable.  Delightful 
also  is  the  portrait  of  Master  Billy  Falmestock.     Her  "  Sun  goddess  "  for  the 


193 

Brookhii  Institute  of  Arts  and  Sciences,  representing  Japanese  Art,  is  a 
gravely  dignified  and  significant  sculptural  creation.  Miss  Scudder  is  the 
only  woman  among  the  contributing  sculptors. 

While  residing  in  Italy,  Miss  Scudder  became  interested  in  fountains, 
and  in  this  line  of  work  she  has  made  her  largest  contributions  to  contem- 
porary- art.  "It  is  these  which  give  the  keynote  to  her  art,  estabUshing  its 
individuality  and  to  a  degree  measuring  its  worth.  Her  theory  is  that 
sculpture  can  be  at  the  same  time  both  gay  and  serious,  enhvening  and  up- 
lifting ....  In  her  figures  of  children  she  has  embodied  the  very  essence  of 
childish  glee  while  keeping  invariably  in  mind  the  prerogatives  of  plastic 
expression.  . .  .  While  her  fountains  are  merry,  they  are  in  nowise  trivial." 
(Int.  studio  39:lxxxi.) 

Sears,  Taber,  (Plural  P.)  b.  Boston,  Mass.,  1870.  Pupil  Academie  Julien 
in  Paris  under  Benjamin-Constant  and  Laurens;  also  studied  with  Merson 
in  Paris,  and  in  Florence  and  Rome. 

Mural  paintings: 

"Spirit  of  Niagara"  in  Buffalo  historical  society. 

"New  York  among  the  nations,"  New  York  city  hall. 

Frieze  of  the  apostles,  Epiphany  church,  Pittsburg,  Pa. 

Stained  glass  window:     "Presentation  in  the  temple."     (Art  &  P.  2:315.) 

Setox,  Erxest  Thompson,  (I.)  b.  South  Shields,  England,  August  14, 
1860.  Lived  in  the  backwoods  of  Canada  1866-70;  on  the  western  plains, 
1882-7;  educated  at  Toronto  Collegiate  Institute  and  Royal  Academy,  Lon- 
don; studied  art  in  Paris  in  1890  and  again  in  1894,  a  pupil  of  Gerome,  Bou- 
guereau  and  Ferrier.  Exhibited  in  the  salons  paintings  and  drawings  of 
wolves,  his  favorite  subject. 

He  was  one  of  the  chief  illustrators  of  the  Centurj'  Dictionaiy  contributing 
fully  a  thousand  dra\Wngs  of  animals  and  birds.  Was  official  naturaUst  to 
the  government  of  Manitoba,  and  is  well-known  as  an  artist,  author  and 
lecturer. 

Sewell,  Robert  V.  V.,  (Mural  P.)  b.  New  York  1860.  Pupil  of  Lefebvre 
and  Boulanger  in  Paris.  Received  first  Hallgarten  prize  National  Academy 
of  Design  1889;  also  won  many  medals.  Elected  associate  member  of  Na- 
tional Academy  1902.     Member  of  leading  art  clubs. 

His  mural  painting  "  The  Canterbur}'  Pilgrims  "  in  the  great  hall  of  Georgian 
court,  Lakewood,  and  several  others  are  widely  known. 

Shannon,  James  Jebusa,  (P.)  b.  Auburn,  N.  Y.,  February  3,  1862.     Spent 
early  boyhood  at  St.  Catherines,  Ont.     First  painted  bill  posters  for  agri- 
cultural fails:  at  the  age  of  fifteen  he  went  to  London.     Worked  three  years 
in  South  Kensington  School  where  he  took  gold  medal  for  figure  painting; 
25 


104 

has  also  taken  medals  for  portraits  at  exposition  in  Paris,  Berlin,  Vienna  and 
Chicago.  Associate  member  of  Royal  Academy,  London,  in  1897;  full  mem- 
ber in  1909;  associate  member  of  the  National  Academy  of  Design,  New  York, 
1908. 

While  a  student  he  painted  by  command  of  Queen  Victoria  the  portrait 
of  Miss  Horatia  Stopford,  one  of  the  maids  of  honor,  since  which  time  he  has 
been  overrun  with  commissions. 

Among  his  notable  works  are  his  portrait  of  the  young  Duchess  of  Portland, 
Marchioness  of  Granby,  Lady  Marjorie  Manners,  Duchess  of  Sutherland, 
"Mrs.  Kitty,"  Lady  Carbery  and  children.  Miss  Clough,  and  Sir  Alfred 
Lyall.  His  "Iris"  a  portrait  of  his  wdfe,  has  won  high  praise  and  was,  to- 
gether with  "War"  and  "Flower  girl,"  purchased  for  the  Tate  Gallery. 

Hartmann  says:  "He  is  today  one  of  the  most  brilliant  and  certainly 
one  of  the  most  fashionable  portrait  painters  of  London.  In  forming  his 
style  he  has  been  chiefly  influenced  by  Bastien  LePage  and  Whistler." 

"The  portrait  which  J.  J.  Shannon  paints  may  be  designated  as  pictorial 

Shannon  belongs  to  those  who  will  first  and  last  see  an  object  and 

render  it  with  reference  to  its  value  as  a  picture." 

"This  priceless  quality  of  the  art  to  which  Shannon  and  his  colleagues 
are  the  heirs  is  its  ability  to  suggest  the  special  atmosphere  and  environment 
of  a  given  period."     (Brinton's  "Modern  Artists.") 

In  England  Mr.  Shannon  enjoys  a  popularitj^  as  a  portrait  painter  second 
to  John  Singer  Sargent. 

Mr.  Shannon  received  the  unique  distinction  of  a  "m^daille  d'honneur  "  for 
his  portrait  of  Phil  May  exhibited  at  the  International  Exposition  of  Fine 
Arts  at  Barcelona,  Spain,  1911. 

Sherwood,  Rosina  Emmet  (Mrs.  Arthur  M.  Sherwood),  (Min.  P.,  I.) 
b.  New  York  City,  December  13,  1857.  Pupil  of  William  M.  Chase  in  New 
York;  Academie  JuUen  in  Paris. 

Mrs.  Sherwood  has  received  many  prizes  and  medals  for  drawing  and 
miniature  work.     Was  elected  associate  member  of  National  Academy,  1906. 

Shinn,  Everett,  (P.,  I.)  b.  Woodstown,  N.  Y.  Pupil  of  Pennsylvania 
Academy  of  the  Fine  Arts.     Specialty,  mural  decoration. 

Did  illustrating  for  Philadelphia  newspapers,  and  for  two  years  furnished 
drawings  for  the  New  York  press.  Has  been  represented  in  all  leading 
magazines;  and  the  Boussod,  Valadon  Company  sent  him  abroad  to  make 
pictures  of  the  street  scenes  and  typical  life  in  Paris,  exclusively  for  their 
trade. 

"Makes  a  direct  attack  on  the  essential,  and  gives  little  care  to  the  manner 
of  expressing  it,  being  a  careless  draughtsman,  but  possessing  a  technical 
facility  that  is  more  likely  to  run  away  with  him  than  to  guide  him  to  surer 
and  saner  methods." 


195 

Shinx,  Florexce  Scovel,  (I.)  b.  Camden,  N.  Y.  Studied  art  at  the 
Pennsylvania  Academy  of  the  Fine  Arts;  an  illustrator  since  1897.  Married 
Everett  Shinn,  January-  26,  1898. 

Her  keen  sense  of  humor  crops  out  in  every  group,  and  the  turn  of  a  line 
gives  a  comical  effect.  The  peculiar  gift  that  Mrs.  Shinn  is  endowed  with  is 
that  she  can  draw  the  most  pitiful  little  figures  and  yet  infuse  into  the 
picture  a  happy,  healthy  atmosphere  that  impresses  us  with  the  worth 
and  joy  of  U\'ing.  Her  characters  are  never  caricatures;  they  are  appealing 
and  provoke  the  laughter  that  bears  no  maUce. 

Shirlaw,  Walter,  (P.)  b.  Paisley,  Scotland,  August  6,  1838;  d.  Madrid, 
Spain,  December  29,  1909.  Began  his  career  as  an  engraver  and  illustrator; 
was  thirty-two  years  of  age  when  he  went  abroad  to  study.  After  seven 
years  in  the  school  in  Munich  under  the  instruction  of  Wagner  and  Kaulbach, 
he  returned  to  this  countrj^  and  devoted  himself  to  the  interests  and  ad- 
vancement of  national  art.  He  was  one  of  the  first  instructors  at  the  Art 
Students  League,  New  York.  One  of  the  founders,  and  the  first  president, 
of  the  Society  of  American  Artists. 

Earlier  pictures: 

''  Toning  of  the  bell "  "  A  study  of  a  head  " 

''Sheep-shearing  in  the  Bavarian  "Feeding  the  poultry" 

highlands  "  "  Good  morning  " 

"  The  young  patrician  "  "  Sheep  " 

Other  works: 

' '  Capelmeister  "  "  Marble  quarry  " 

"  The  fiddler  "  "  Indian  giri  " 

"  Very  old  "  ''  Eager  for  the  fray  " 

"Sleep"  "Autumn" 

Later  pictures: 

"Gathering  seaweed"  "Brittany" 

"  Roses  "  "  Among  the  old  poets  " 

"The  dancer" 

Received  medal  of  the  Royal  Academy,  Munich;  honorable  mention  at 
the  Paris  Exposition  in  1889 ;  associate  member  of  the  National  Academy  of 
Design,  New  York,  1878;  fuU  member,  1888. 

"The  name  and  fame  of  Walter  Shirlaw  will,  however,  be  more  certainly 
perpetuated  through  his  gifts  as  a  master  of  decorative  arts  and  by  the  in- 
fluence and  effect  of  his  rare  personaUty  and  noble  character  on  contem- 
poraneous art  development."     (Int.  studio  43.) 

Shirlaw's  strong  point  is  not  color;  he  shows  a  decided  leaning  to  sculpture. 
(Innes  "Schools  of  painting.") 


196 

Shulz,  Adolph  Robert,  (P.)  b.  Delavan,  Wisconsin,  June  12,  1869. 
Studied  abroad  at  the  Julien  Academy  under  Lefebvre,  Benjamin-Constant, 
Laurens  and  others.     Specialty,  landscapes;  also  a  teacher. 

At  an  early  age  Mr.  Shulz  became  interested  in  the  study  of  trees,  their 
formation  and  color.  He  also  became  familiar  with  their  individual  aspect 
while  the  moods  of  the  sky  were  his  delight. 

" Spring  song "  "Autumn  fog " 

"Frost  and  fog"  (Arts  &  D.  2:332.) 

Simmons,  Edward  Emerson,  (P.,  Mural  decorator)  b.  Concord,  Mass., 
October  27,  1852;  a  nephew  of  Ralph  Waldo  Emerson;  graduated  from  Har- 
vard in  1874.  Studied  art  in  Boston,  then  went  to  Paris  and  studied  under 
Boulanger  and  Lefebvre  in  the  Atelier  Julien,  winning  the  gold  medal  of  the 
studio  at  the  end  of  his  first  season.  He  has  been  a  professional  painter  since 
1879.  Is  a  member  of  the  Ten  American  Painters.  Has  lived  much  abroad 
in  Brittany,  France,  and  in  Cornwall,  England,  but  since  1893  has  lived 
chiefly  in  New  York. 

It  was  from  Brittany  that  he  sent  to  the  Paris  salon  of  1882  his  paint- 
ing "The  washerwoman"  which  brought  him  honorable  mention.  This 
model  was  rendered  famous  by  serving  as  the  heroine  for  Blanche  Willis 
Howard's  novel,  "Guenn"  which  was  written  that  year  at  Concarneau. 

Mr.  Simmons  painted  Breton  themes  exclusively  until  he  took  up  his 
residence  in  St.  Ives,  Cornwall.  Here  he  became  associated  with  a  colony 
of  English  artists  and  here  he  painted  his  successful  "Mother  and  child, '^ 
and  a  splendid  marine  of  the  Bay  of  Lelant.  His  pictures  of  the  Bay  of  St. 
Ives  are  among  the  most  beautiful  and  poetic  works  of  the  kind  that  we  owe 
to  any  modern  artist.  They  have  been  exhibited  at  the  Royal  Academy, 
London.     (Brush  &  P.  5:241.) 

Among  other  popular  paintings  may  be  mentioned : 

"Study  at  Concarneau"  "The  winnowers" 

"  Corner  of  the  market "  "  Bout  de  la  cour  " 

' '  Summer  "  "  Low  tide  " 

"Breakfast"  "The    carpenter's    son"     (considered 

one  of  his  best  works) 

His  mural  decorations  have  been  highly  praised  by  critics.  Of  those  in 
the  Library  of  Congress,  Washington,  D.  C.  (a  series  of  nine  paintings  repre- 
senting the  Muses)  Arthur  Hoeber  says:  "The  work  is  thoughtful,  serious 
and  able;  and  besides  the  admirable  technical  excellence  displayed  there  is 
felt  the  intellectual  power  behind  the  composition." 

"His  decorations  of  the  Astor  gallery  of  the  Astoria,  New  York,  rank 
among  the  finest  artistic  achievements  that  the  country  can  boast;  and  the 
artist  has  never  surpassed  the  standard  that  he  has  here  set  for  liimself." 
(King's  "American  mural  painting.") 


107 

^Ir.  Simmons  is  a  painter  of  remarkable  versatility  and  his  work  is  dis- 
tinguished by  freedom  of  execution,  exquisite  drawing,  repose  and  much 
charm  of  color. 

Sloan,  John,  (P.,  I.,  E.)  b.  Lock  Haven,  Pa.,  August  2,  1871.  Studied  in 
the  evenings  for  a  short  time  at  the  Pennsylvania  Academy  of  the  Fine  Arts, 
Philadelphia,  but  in  general  he  may  be  said  to  be  self-taught.  Was  instructor 
of  Art  Students'  League  of  Philadelphia. 

For  several  years  he  was  staff  artist  on  the  Philadelphia  Press. 

The  following  extracts  are  from  an  article  which  appeared  in  Craftsman 
15:559: 

"He  early  learned  to  handle  the  etcher's  needle  ^^^th  a  measure  of  dis- 
tinction, but  he  did  not  take  up  painting  until  about  ten  j-eai-s  ago. 

"In  1904  he  left  Philadelphia  and  since  then  he  has  made  his  home  in 
New  York  Cit}',  just  outside  the  Tenderloin  district. 

"John  Sloan  is  classed  as  a  member  of  what  is  known  in  our  academic 
art  circles  as  the  Revolutionary  gang,  or  the  Black  school. 

"One  finds  a  literarj'  analog}'  to  Sloan's  art  in  the  works  of  both  Dickens 
and  Balzac  ....  John  Sloan,  both  in  his  paintings  and  in  the  brilUant  re- 
lentless Uttle  etchings  which  give  such  vixdd  gUmpses  of  New  York  life, 
shows  no  tendency  to  grasp  human  wretchedness  in  the  mass  but  rather  to 
show  here  and  there  a  detached  bit  of  life  which  has  the  power  of  suggesting 
the  whole  turbid  current. 

"The  coffee  Une"  received  honorable  mention  at  the  Carnegie  Institute 
1905  and  was  the  most  talked  of  picture  of  the  entire  exhibition.  The  scene 
of  /  The  coffee  Une  "  is  Madison  Square  on  a  bitter  bluster}'  night  in  winter 
where  the  shivering  unemployed  are  forming  a  ragged  waiting  line  at  the  rear 
of  a  hot  coffee  wagon.  Startling  in  its  fidelity,  the  picture  displays  Sloan  in 
one  of  his  most  t«nse  and  dramatic  moods." 

Smedley,  William  Thomas,  (P.,  I.)  b.  Chester  county.  Pa.,  March  26, 
1858.  Entered  newspaper  office  at  fifteen:  studied  engraWng  in  Philadelphia 
and  art  in  the  Pennsylvania  Academy  of  the  Fine  Arts;  went  to  Xew  York 
in  1878,  and  later  to  Paris  where  he  studied  under  Jean  Paul  Laurens.  Opened 
a  studio  in  New  York  in  1880  and  has  smce  been  actively  engaged  as  illus- 
trator for  Harper's  and  other  standard  periodicals.  In  1883  he  was  engaged 
by  pubUshers  of  "Picturesque  Canada"  to  travel  with  the  Marquis  of  Lome 
through  the  west  and  northwest  Canada  and  illustrate  the  work;  has  since 
made  several  sketching  tours  in  United  States  and  in  1890  around  the  world. 

In  1881  he  made  his  first  contribution  to  the  National  Academy  of  Design, 
New  York,  and  in  1888  was  represented,  for  the  first  time,  in  the  Paris  salon. 
In  1890  won  the  WilUam  T.  Evans  prize  with  "A  Thanksgiving  dinner." 

As  an  illustrator,  Mr.  Smedley  depicts  high  and  low  life  with  equal  skill. 

His  illustrations  of  Warner's  "Golden  house"  and  Ho  wells'  "Their  silver 


198 

wedding  journey"  may  be  cited  as  examples  of  his  success  in  one  direction, 
and  those  of  T.  A.  Janvier's  " Casa  Napoleon "  and  Miss  Murfree's  "Strange 
peoples'  country  "  of  his  success  in  the  other. 

Elected  member  of  the  National  Academy  of  Design,  New  York,  in  1905. 

Burlington  magazine  says:  "Smedley  seems  like  an  American  Ghir- 
landajo." 

"  His  pen  execution,  free  and  unrestrained,  displays  the  habit  of  the 
sketcher." 

Smillie,  James  D.,  (P.,  E.)  b.  New  York,  July  16,  1833;  d.  September  14, 
1909.  The  son  of  a  jeweler  and  silversmith,  he  did  etching  before  he  was 
eight  years  old.  The  sentimental  bias  of  early  years  is  shown  in  a  weeping 
willow  and  tombstone,  while  a  struggle  to  break  the  bonds  of  conventionality 
is  evident  in  a  processional  line  of  six  or  eight  black-looking  buffaloes.  He 
says:  "If  I  remember  rightly,  sun,  moon  and  stars  appeared  in  the  firma- 
ment." At  fourteen  years  of  age  he  made  ambitious  illustrations  of  Milton's 
"Paradise  lost." 

In  1862  he  went  abroad  to  study,  having  previously  been  employed  in 
bank-note  engraving.  In  1864  he  abandoned  engraving  and  took  up  paint- 
ing. In  1865  he  was  elected  an  associate  member  of  the  National  Academy 
of  Design  and  an  academician  in  1876.  Was  the  founder  of  the  American 
Water-color  Society,  serving  as  president  and  treasurer.  It  was  to  the 
efforts  of  Mr.  Smillie  and  Dr.  L.  M.  Yale,  an  amateur  etcher  of  merit,,  that  the 
organization  of  the  New  York  Etching  Club  was  effected. 

He  etched  almost  the  entire  work  on  the  large  plates,  "Childhood,"  "Man- 
hood" and  "Old  age"  after  Cole's  paintings  entitled  "Voyage  of  life." 

Upon  the  formation  of  the  Painter-Etchers  Society  of  London  in  1860, 
(Sir  Francis  Seymour-Haden,  president),  he  was  made  one  of  the  "original" 
fellows.  Representing  American  etchers,  he  made  a  collection  of  their 
productions  and  sent  them  to  the  first  exhibition  of  that  society  in  London. 

"He  is  possessed  not  only  of  the  qualities  needed  by  an  original  etcher, 
but  the  powers  of  adaptation  "  was  said  of  him. 

Smith,  Francis  Hopkinson,  (P.,  I.)  b.  Baltimore,  Md.,  October  23,  1838. 
He  belongs  to  a  family  of  artists,  his  great  grandfather,  Francis  Hopkinson, 
a  signer  of  the  Declaration  of  Independence,  being  an  amateur  in  water-color 
and  his  grandfather,  Judge  Joseph  Hopkinson,  the  first  president  of  the 
Pennsylvania  Academy  of  the  Fine  Arts.  When  a  boy  Mr.  Smith  began  to 
paint  and  has  made  thousands  of  sketches  and  studies  in  the  open  air.  He 
not  only  seems  at  his  strongest  in  charcoal  but  he  prefers  it  to  lead,  to  oils  or 
to  water-colors ;  as  an  artist  he  is  substantially  self-taught. 

His  paintings  are  all  of  a  summer-like  character.  "Franconia  Notch" 
is  remarkably  successful  in  the  delineation  of  falling  water  and  the  moss- 
covered  rocks  which  line  the  ravine. 


199 

Of  his  views  of  Venice,  Isham  says:  "They  are  not  emotional,  they  are 
not  subtle,  they  are  not  tonal,  but  they  are  very  charming  wdth  their 
delicatel}^  colored  skies,  their  luminous  air,  their  soft  sunlit  marbles  and  clear 
cool  shadows." 

"His  water-color  sketches  have  a  softened  brilliancy,  a  breadth  of  treat- 
ment and  a  simplicity  that  gives  evidence  of  practical  skill  and  carrjdng  the 
idea  that  the  effort  was  one  of  expression  and  that  he  has  portrayed  the  scene 
just  as  it  was  at  the  time  he  sketched  it."     (Xat.  Cyc.  Am.  Biog.) 

"In  his  cloud  effects  and  in  his  representation  of  limpid  water  Mr.  Smith 
shows  verj"  exceptional  ability."     (Book  News  28.) 

He  has  achieved  distinction  as  an  artist,  author,  lecturer,  critic  play- 
wright, engineer  and  expert  bridge  constructor. 

Smith,  Jessie  Willcox,  (P.,  I.)  b.  Philadelphia,  Pa.  Educated  in  private 
schools;  studied  art  at  the  Pennsylvania  Academy  of  the  Fine  Arts  and  under 
Howard  Pyle  at  Drexel  Institute. 

^Miss  Smith  was  a  kindergarten  teacher  until  her  health  failed;  she  has  been 
engaged  as  an  artist  and  an  illustrator  since  1890  and  her  work  is  seen  in  all 
the  leading  American  magazines.  Her  fii-st  actual  work  was  m  the  ad- 
vertising department  of  the  Ladies'  Home  Journal. 

"Jessie  Willcox  Smith's  particularity  is  the  decorative  use  of  every  day 
subjects.  She  paints  or  draws  in  broad  flat  masses  and  is  almost  Japanesque 
in  her  use  of  the  planes  of  her  composition."     (Bookbuyer  24.) 

"Her  gardens  smell  of  roses  and  old-fashioned  blooms." 

The  series  of  her  pictures  entitled  "A  mother's  day"  is  an  idyll  of  American 
motherhood:     "Morning,"  "In  the  garden,"  "Checkers,"  "Bed-time." 

"Miss  Smith's  aim  is  definite  and  frank,  her  method  ^'ital  and  strong, 
and  she  is  also  a  colorist  of  charm." 

In  critically  viewing  the  paintings  in  the  American  exhibit  at  the  Roman 
Exposition  of  1911,  the  dowager  queen  of  Italy  (herself  a  skilful  painter) 
expressed  special  delight  with  the  picture  entitled  "The  dark,"  the  work  of 
this  talented  artist. 

Jessie  Willcox  Smith  is  best  known  by  her  illustrations  for  Robert  Louis 
Stevenson's  "A  child's  garden  of  verses;"  "A  child's  book  of  old  verses"  and 
"A  book  of  old  stories;"  series  of  pictures:  "Five  senses,"  "Children  of  Dick- 
ens'," "Seven  ages  of  childhood,"  and  "Child  calendar." 

Smith,  Letta  Crapo,  (P.)  b.  Fhnt,  :Mich.,  July  4,  1862.  Studied  art  at 
the  Acad^mie  Julien,  Paris;  also  pupil  of  Julius  Rolshoven  and  George  Hitch- 
cock. 

Received  bronze  medal  at  St.  Louis  Exposition,  1904,  for  "The  first  birth- 
day." 


200 

This  painting  is  now  in  the  Detroit  Museum  of  Art.     Other  works  have 
been  exhibited  in  Philadelphia,  New  York  and  Chicago. 
President  Detroit  Society  of  Woman  Painters. 

Sperry,  Edward  Peck.  Member  of  American  Society  of  Mural  Paint- 
ers, and  New  York  Arch.  League.     Specialty,  stained  glass. 

SoNNTAG,  William  Louis,  (P.)  b.  Pittsburg,  Pa.,  :March  2,  1822;  d.  New 
York,  January  22,  1900.  Went  to  Cincinnati  to  study  art  in  his  boj'hood; 
studied  also  in  Europe.  Made  his  home  in  New  York  City  in  1854. 
Associate  member  of  the  National  Academy,  1860;  academician,  1861. 

"Some  of  his  best  landscapes  illustrate  the  picturesque  scenery  of  Western 
Virginia." 

SouTHWicK,  Elsie  Whitmore,  (Min.  P.)  b.  Providence,  R.  I.  Pupil  of 
Prinet,  Dauchez  and  Madame  Chennevieres,  Paris. 

Besides  interesting  miniatures  that  are  purely  pictorial.  Miss  South  wick 
has  been  unusually  successful  with  her  portraits. 

"Her  nudes  are  wonderfully  delicate  in  line  and  color,  subtle  shades  of 
pink  and  rose  predominating. 

"  Vividness  of  color  is  characteristic  of  Miss  South  wick's  work.     She  loves 

vermilion — gay  blues  and  yellows  and  violet  she  likes    maroon  and 

brown  and  other  dull  tones  are  almost  tabooed  in  her  work. 

The  peasants  of  Brittany  are  a  source  of  interest  to  her  as  subject  matter  " 


While  she  enjoys  portrait  work,  her  chief  pleasure  is  in  coarse  types. 

She  also  paints  in  oil  and  pastel  and  sketches  in  crayon.  In  all  her  work 
she  shows  the  firm  and  direct  drawing,  the  vigorous  and  gay  coloring,  the 
strong  character  that  are  evident  in  her  miniatures.     (Arts  &  D.  1:205.) 

Stanley,  James  M.,  (P.)  b.  Canandaigua,  N.  Y.,  January  17,  1814;  d.  April 
10,  1872. 

In  1834  he  removed  to  Michigan  and  in  1835  commenced  the  profession  of 
portrait  painting  in  Detroit.  Went  to  Chicago  in  1837  and  for  the  follow- 
ing two  years  he  painted  portraits  of  Indians  and  took  sketches  of  the  Indian 
cinmtry  in  the  region  of  Ft.  Snelling,  Minn.  Subsequently  he  followed  his 
profession  in  New  York  City,  Philadelphia,  Baltimore  and  Troy,  N.  Y.  In 
1S42  he  traveled  extensively  over  the  western  prairie,  painting  the  portraits 
in  full  costume  of  the  leading  warriors  around  Fort  Gibson,  Ark.,  and  in 
Texas  and  New  Mexico.  After  spending  some  time  in  the  Hawaiian  Islands 
he  returned  and  lived  in  Washington,  D.  C,  then  took  up  his  permanent 
residence  in  Detroit,  Michigan. 

Mr.  Stanley  placed  a  valuable  collection  of  portraits  of  the  Indian  chiefs  of 
America  in  the  Smithsonian  Institution;  these  were  destroyed  by  fire  in  1865; 


201 

there  were  152  paintings.  One  of  the  most  important  paintings,  "The  trial 
of  Red  Jacket,"  was  exhibited  in  all  the  principal  cities  of  America  and  Europe 
and  finally  placed  in  Detroit;  valuable  both  historically  and  artistically  it 
was  appraised  at  $30,000.  His  portraits  of  distinguished  men  from  all  parts 
of  the  United  States  won  him  deserved  reno\\Ti. 

Mr.  Stanley  was  the  organizer  of  the  Western  Art  Association  and  one  of 
the  founders  of  a  galler}'  of  painting  that  in  later  years  became  a  permanent 
and  valuable  acquisition  to  Detroit.     (Nat.  Cyc.  Am.  Biog.  6:467.) 

Stanton,  Lucy  May,  (Min.  P.)  b.  Atlanta,  Ga.,  May  22,  1875.  Pupil  of 
Colarossi  Academy,  Simon,  Blanche,  Gandara  and  A.  Koopman  in  Paris. 
Member  Pa.  Societ}'  of  Miniature  Painters.  Specialty,  portraits.  Also 
teacher. 

Miss  Stanton's  name  is  included  in  a  group  of  miniature  painters  whose 
work  is  commented  on  as  follows:  "Their  miniatures  are  executed  in  a 
broad,  free  style,  difficult  to  attain  on  ivory,  but  very  dehghtful  when  done 
with  the  spontaneity  and  freshness  of  color  exhibited  in  the  work  of  these 
artists.  The  color  in  these  is  spread  on  the  ivory  Uke  a  stain  and  is  left  un- 
touched save  for  a  few  accenting  touches  here  and  there." 

Steele,  Helen  McKay  (Mrs.  Brandt  T.  Steele),  (P.,  I.,  Stained  glass 
designer)  b.  IndianapoUs,  Ind.  Pupil  of  T.  C.  Steele  and  William  Fors\i:h. 
Specialty,  portrait  sketches  and  designs  for  stained  glass. 

Stephens,  Alice  Barber,  (I.)  b.  Salem,  N.  Y.,  1858.  Was  educated  in 
the  public  schools  of  Philadelphia;  art  education  in  the  Philadelphia  School 
of  Design  for  Women  and  in  the  Pennsylvania  Academy  of  the  Fine  Arts. 
Has  been  wood-engraver  for  Scribner's  and  illustrator  for  Harper's,  Century 
and  other  magazines:  has  also  illustrated  for  the  Ladies  Home  Journal,  and 
taught  portrait  and  life  classes  in  the  Philadelphia  School  of  Design  for 
Women.  Although  Mrs.  Stephens  has  studied  in  Paris  in  the  Academie 
JuUen  and  at  Colarossi's  she  regards  her  development  due  to  her  Philadelphia 
instruction  and  experience  in  her  own  studio. 

There  is  a  pecuUar  tenderness  in  her  conception  of  childhood,  entirely  free 
from  prettiness  and  sentimentality. 

"AUce  Barber  Stephens  is  a  talent  somewhat  akin  to  Sterner.  She  is 
known  for  her  imagination  and  facile  powers  of  expression."     (Hartmann.) 

"Although  nearh'  all  of  her  pictorial  compositions  are  constructed  and 
executed  with  understanding,  they  are  seldom  spontaneously  dramatic  and 
it  is  therefore  in  pictures  of  quiet  scenes  and  rural  incidents  that  Mrs.  Stephens 
excels."  She  regards  the  illustrations  for  "Fishin'  Jimmy"  as  among  her 
most  satisfactory-  achievements.  The  Bret  Harte  pictures  and  the  illustra- 
tions for  "John  HaUfax,  gentleman,"  and  " Middlemarch "  are  in  another 
vein  and  one  in  which  Mrs.  Stephens  is  not  quite  so  convincing." 


202 

The  beautiful  illustrations  for  James  Lane  Allen's  "In  Arcady"  were 
made  by  her  for  that  story  at  the  author's  own  request.  She  was  Conan 
Doyle's  selection,  also,  of  an  illustrator  for  his  "Stark  Monroe"  papers. 
(Brush  &  P.  6:241.) 

Sterne,  Maurice,  (P.,  E.)  b.  Libau,  Russia,  1877.  When  fourteen  years 
of  age  emigrated  with  his  mdowed  mother  to  New  York.  He  attended 
night  school;  later  joined  a  class  at  the  old  academy  of  design  and  attended 
other  art  schools  in  the  city.  He  won  prizes  with  ease.  William  M.  Chase 
encouraged  and  honored  him  by  purchasing  one  of  his  canvasses  for  a  sub- 
stantial sum  of  money.  He  also  achieved  local  fame  by  making  a  series  of 
etchings,  chief  among  them  the  Coney  Island  set;  he  assisted  the  late  James 
D.  Smillie  as  instructor  of  etching.  He  went  to  Europe  in  1904,  and  studied 
in  Greece  and  the  Orient. 

"Sterne's  plates  are  notable  for  their  sincerity,  freshness  and  novelty,  and 
they  received  special  and  very  favorable  mention  when  they  were  afterwards 
exhibited  in  the  Paris  salons." 

"In  balance  of  color,  transition  of  tones  and  in  their  savage  nudity  they 
resemble  the  work  of  Matisse,  but  Sterne  is  not  a  reflection  of  the  French  so- 
called  post-impressionistic  movement."     (Int.  studio  46:iii.) 

"Rockaway  beach"  and  "Harbor  scene"  are  probably  his  most  important 
plates,  though  "]\iaggie"  was  a  prize  winner,  and  many  of  his  portraits  par- 
ticularly "The  reader"  and  "A  profile"  are  especially  delicate,  and  finely 
etched."     (Brush  &  P.  10:99.) 

Sterner,  Albert  Edward,  (P.,  I.)  b.  London,  England,  November  8, 
1863.  At  the  age  of  eleven,  his  family  went  to  Birmingham,  England,  to 
live  and  he  entered  King  Edward's  School  at  the  head  of  a  competitive  list 
of  seven  hundred  students;  took  the  prize  in  drawing  and  after  studying  at 
the  Birmingham  Art  Institute,  where  he  won  a  scholarship,  went  to  Germany 
in  his  fifteenth  year.  When  he  was  eighteen  he  came  to  his  parents  who  had 
preceded  him  to  Chicago.  Here  he  took  up  lithography,  scene  painting  and 
drafting  on  wood  for  engravers  and  designers. 

In  1885  took  up  his  residence  in  New  York,  where  he  illustrated  for  "Life," 
"St.  Nicholas,"  and  "Harper."  Three  years  later  went  to  Paris  and  studied 
at  the  Ecole  des  Beaux  Arts  and  at  Academie  Julien  under  Boulanger  and 
Lefebvre.  Received  honorable  mention  in  1891  for  a  painting  in  oil  "The 
bachelor"  exhibited  in  the  salon,  to  which  he  was  a  regular  contributor. 
Associate  member  National  Academy  of  Design,  1910. 

He  has  illustrated  "Prue  and  I"  by  George  William  Curtis,  works  of 
Edgar  Allen  Poe  and  "Eleanor"  by  Mrs.  Humphrey  Ward. 

"He  is  an  admirable  painter,  a  soft,  rich  and  brilliant  colorist.  This 
quality  of  color  finds  its  way  into  his  black  and  white.     His  chief  quality 


203 

is  his  artisticness.  He  is  a  conservative  radical  in  art."  (Quarterly  Il- 
lustrator Vol.  2.) 

;Mr.  Sterner  has  recently  appeared  in  a  new  role — that  of  making  por- 
traits in  red  chalk — called  by  the  French  "sanguines."  (Int.  studio 
35:liv.) 

Ernest  Knaufft  says:  "The  mantle  of  Edwin  A.  Abbey  has  fallen  upon 
the  shoulders  of  Albert  E.  Sterner,  who  is  almost  the  sole  representative  of 
sentiment  in  illustration.  His  technique  is  not  so  expert  as  that  of  Abbey.  . .  . 
but  at  his  best  he  far  transcends  the  average  illustrator,  and  we  find  the 
genuine  ring  of  art,  the  true  poetic  feeUng  dominating  his  productions." 

"Like  Blake  and  Poe  in  their  poetry,  Mr.  Sterner  sets  aside  the  rules  of 
convention  and  breaks  loose  from  the  leading  strings  of  schools,  his  touch 
now  poignant,  now  languid,  is  the  touch  of  a  musician  turned  draughtsman, 
and  the  result  is  most  elusive." 

Stevens,  Mrs.  Helen  B.  (E.)  b.  Chicago,  111.,  February  8,  1878.     Pupil 
of  the  Art  Institute,  Chicago,  and  of  Frank  BrangW5Ti  in  England. 
Teacher  of  etching  at  the  Art  Institute,  Chicago. 

Stewart,  Julius  L.,  (P.)  b.  Philadelphia,  Pa.,  1855.  Was  a  pupil  of  Zam- 
acois,  Gerome  and  R.  de  Madrazo. 

Received  honorable  mention  at  Paris  salon,  1885;  third  class  medal  salon 
of  1890:  gold  medal,  Berlin,  1891;  grand  gold  medal,  Berhn,  1895;  gold  medal, 
Munich,  1897;  Order  of  Leopold  of  Belgium,  1895;  Legion  of  Honor,  1895, 
ofl&cer,  1901;  grand  gold  medal,  Munich,  1901.  Associate  Societe  Nationale 
des  Beaux  Arts,  1895 ;  member,  1899. 

"In  result  of  Fortum-'s  influence  Stewart  has  become  a  thorough  man 
of  the  world,  a  painter  of  society,  and  one  of  captivating  grace,  whose  "  Hunt 
ball"  and  "Five  o'clock  tea"  were  amongst  the  most  refined  pictures  of  the 
Paris  Exhibition  of  1889."     (Miither.) 

Stilwell,  Sarah  S.,  (I.)  is  kno^Ti  as  the  delineator  of  fully  clothed  httle 
girls,  as  for  instance  the  pair  investigating  the  hons'  den  in  the  back  of  a  recent 
Harper. 

She  was  a  student  in  the  Drexel  Institute  in  Philadelphia  and  owes,  as  do 
all  the  younger  artists  of  this  group,  much  to  the  instruction  of  Mr.  Howard 
Pyle.  She  is  a  close  observer  of  child  life;  has  illustrated  a  new  edition  of 
Mrs.  Dodge's  "Rhjmes  and  jingles"  which  shows  her  characteristic  style. 
She  rarely  uses  other  medium  than  oil  in  her  work. 

Her  work  is  done  in  her  Philadelphia  studio. 

Stuart,  Gilbert,  (P.)  b.  Narragansett,  R.  I.,  Decembers,  1755; d.  Boston,  ^ 
Mass.,  July  27,  1828.     Began  painting  at  the  age  of  ten  and  when  thirteen 
years  old  was  commissioned  to  paint  portraits  of  Mr.  and  Mrs.  John  Ban- 


204 

nister,  which  shows  his  early  precocity.  His  first  tutor  was  a  Scotch  painter 
of  some  note,  Cosmo  Alexander,  who  came  to  Newport  when  the  boy  was 
fifteen.  Two  years  later  Stuart  traveled  through  the  south  \vith  Alexander 
and  later  accompanied  him  to  Scotland  where  he  was  estabUshed  in  the 
University  of  Glasgow  and  under  the  care  of  Sir  George  Chambers,  but  both 
peer  and  painter  died  within  a  short  interval  of  each  other,  leaving  Gilbert 
alone,  friendless  and  penniless  in  a  strange  country;  he  worked  his  way  back 
home,  reaching  his  father's  house  in  rags. 

In  1775  he  went  to  England  where  through  Benjamin  West,  who  recog- 
nized his  talent,  he  obtained  much  favor  and  distinction  in  London.  He 
painted  three  kings  and  many  celebrated  people.  His  representation  of 
Kemble,  the  great  actor,  as  "Richard  the  third,"  is  considered  one  of  the 
strongest  examples  of  brushwork  ever  produced  in  England.  Returning  to 
the  United  States  in  1792,  he  opened  a  studio  in  New  York. 

His  famous  portrait  of  Washington — the  "Athenaeum  portrait" — now 
in  the  Boston  ^luseum  of  Fine  Arts,  is  the  only  one  to  be  universally  accepted 
as  a  faithful  likeness  of  the  father  of  his  country.  The  "Gibbs-Channing" 
Washington — the  one  showing  the  right  side  of  the  face — is  in  the  Metro- 
politan Museum  of  Art,  New  York. 

Gilbert  Stuart  still  holds  his  place  among  our  best  painters,  and  even 
among  his  great  contemporaries  in  England.  Tuckerman  says:  "His  best 
portraits  are  glimpses  of  character." 

Sadakichi  Hartmann  has  written:  "The  traits  for  which  Stuart  is  most 
to  be  praised  are  the  vitality  and  character  he  infuses  into  his  portrait  and  the 
excellent  coloring,  when  he  is  at  his  best.  Then  his  flesh  glows  and  is  trans- 
parent. But  he  neglected  composition,  caring  for  nothing  but  the  heads, 
sHghting  all  details." 

Sully,  Thomas,  (P.)  b.  Horncastle,  Lincolnshire,  England,  June  8,  1783; 
d.  Philadelphia,  Pa.,  November  5,  1872.  His  parents  were  actors  and  in 
1792  with  their  family  of  nine  children  came  from  England  to  Charleston, 
►South  Carolina.  Lawrence  Sully,  his  brother,  was  a  miniature  painter  in 
Richmond,  Va.,  and  in  1799  Thomas  joined  him  and  painted  with  him  until 
his  (Lawrence)  death  in  1804. 

In  1806  he  removed  to  New  York;  for  a  short  time  resided  in  Boston  for 
instruction  from  Gilbert  Stuart.  Studied  under  Benjamin  West  in  London 
in  1809.  Settled  permanently  in  Philadelphia  in  1810  and  became  the  most 
fashionable  painter  of  the  day. 

He  visited  England  in  1837  and  painted  a  full-length  portrait  of  Queen 
Victoria.     Between  1820-40  he  exhibited  ten  portraits  at  the  Royal  Academy. 

At  a  historical  portrait  exhibition  at  the  Pennsylvania  Academy  of  the 
Fine  Arts,  1887-88,  Thomas  Sully  was  represented  by  106  pictures,  "show- 
ing great  versatility  and  extraordinary  powers  of  conception  and  execu- 
tion." 


205 

"Sully  is  the  connecting  link  between  the  dawn  and  meridian  of  American 
art."     (Tuckerman.) 

"Thomas  Sully  was  called  the  "Sir  Thomas  Lawrence  of  America." 

His  general  style  is  similar  to  that  of  the  famous  painter  of  EngUsh  women." 

Taft,  Lobado,  (S.)  b.  Elmwood,  III,  April  29,  1860.  Was  educated  at 
the  University  of  Illinois,  where  his  father,  Don  Carlos  Taft  was  a  professor 
of  geolog5^  Completed  his  artistic  training  in  Paris,  studying  at  the  Ecole 
des  Beaux  Arts  three  years. 

^Ir.  Taft  has  been  instructor  in  the  Art  Institute  of  Chicago  since  1886; 
lecturer  of  art,  university  extension  department,  University  of  Chicago, 
1892-1902;  professional  lecturer  on  art  since  1909.  Associate  member 
National  Academj^of  Design,  1909;  full  member  1911.  His  "History  of 
American  sculpture"  is  a  standard  work. 

The  trustees  of  the  Art  Institute  voted  in  October  1907  to  commission 
]\Ir.  Taft  to  erect  in  Chicago  his  "Fountain  of  the  Great  Lakes."  This  foun- 
tain is  the  first  large  and  purely  ideal  group  erected  in  America.  It  represents 
the  great  lakes  typified  by  five  beautiful  female  figures  grouped  on  a  pyramid 
of  rocks  pouring  water  from  shells — "  Superior  "  poised  on  the  summit  bending 
to  the  group  of  "Michigan"  and  "Huron,"  below  are  "Erie"  and  "Ontario." 

His  figure  of  "Knowledge"  reminiscent  of  his  Parisian  ideals,  marks  the 
close  of  his  scientific  period. 

"The  soUtude  of  the  soul" — the  first  important  expression  of  his  renais- 
sance— won  the  gold  medal  at  the  St.  Louis  Exposition. 

"The  bUnd"  suggested  by  Maeterlinck's  "Les  aveugles"  is  a  group  of 
bUnd  people  lost  in  the  woods  wth  one  poor  innocent  babe  the  only  hope 
.of  deUverance. 

Another  important  work  is  his  colossal  statue  of  Washington  for  the 
campus  of  the  University  of  Washington  at  Seattle. 

Mr.  Taft  is  original,  impressive,  artistic  and  emotional. 

Tanner,  Henry  Ossaw^a,  (P.)  b.  Pittsburg,  Pa.,  June  21,  1859,  the  son  of 
Bishop  B.  T.  Tanner  of  the  African  Methodist  church,  is  an  Afro-American 
painter  who  has  become  famous  in  Paris.  He  studied  in  the  Pennsylvania 
Academy  of  the  Fine  Arts  under  Thomas  Eakins;  was  a  pupil  of  Jean  Paul 
Laurens  and  Benjamin-Constant,  Paris.  Is  a  member  of  the  Paris  Society 
of  American  Painters,  and  Societe  Internationale  Peinture  et  Sculpture, 
Paris;  associate  member  National  Academy  of  Design,  1909. 

Since  1895  has  exhibited  every  year  in  the  Paris  salon.  His  first  work 
was  "The  sabot  maker."  In  1896  he  entered  his  "Daniel  in  the  hons'  den" 
which  received  honorable  mention.  In  1897  he  showed  " Raising  of  Lazarus" 
which  won  a  medal  and  was  purchased  bj'  the  French  government  for  the 
Luxembourg;  "Christ  and  the  disciples  at  Emmaus"  has  also  been  placed  in 
the  Luxembourg. 


HENRY    OSSAWA    TANNER. 


207 

In  1898  "The  annunciation"  was  exhibited  and  proved  one  of  the  suc- 
cesses of  the  5'ear.  "The  picture  has  spirituahty  so  far  that  it  suggests 
the  mystery  of  the  conception."     (Caffin  in  "Artist"  24:xiv.) 

In  1900  he  showed  "Nicodemus  coming  to  Christ."  In  his  "Fhght  of 
Judas"  his  idea  of  dramatic  power  seems  to  be  carried  to  the  most  forceful 
expression  yet  achieved;  it  has  the  accent  of  inspiration."     (Outl.  64:796.) 

His  "  Five  wise  and  five  foohsh  virgins  "  was  given  a  place  of  honor  in  the 
salon  of  1908. 

M.  M.  Benjamin-Constant,  Gerome,  and  in  fact  all  the  leaders  of  French 
painting  today  have  recognized  Mr.  Tanner  a  true  artist  and  man  and  have 
come  to  esteem  him  for  his  personal  qualities  as  for  those  which  he  has  shown 
in  his  work. 

An  eminent  art  critic  says:  "In  religious  feeling  'Sir.  Tanner  seems  nearer 
to  Fra  Bartolommeo  than  to  any  other  artist  past  or  present."  A  marked 
and  welcome  quality  in  all  his  pictures  is  atmosphere. 

Tarbell,  Edmund  C,  (P.)  b.  Groton,  Mass.,  April  26,  1862.  Pupil  of 
Grundmann  at  the  Museum  of  Fine  Arts,  Boston;  also  studied  under  Bou- 
langer  and  Lefebvre  in  Paris.  Has  been  instructor  in  dra\nng  and  painting 
in  the  Boston  Art  Museum  since  1889.  Has  been  awarded  many  prizes  for 
his  paintings  including  Pennsylvania  Academy  of  the  Fine  Arts  medal  of 
honor,  1908,  and  gold  medal  of  the  National  Academ}^  of  Design,  1908. 

Is  a  member  of  the  Ten  American  Paintei*s.  Associate  member  National 
Academy  of  Design,  1894;  full  member,  1906. 

Tarbell's  interiors  compare  favorably  with  the  paintings  of  the  famous 
Dutch  painters  and  none  better  than  he  has  pictured  our  contemporary 
home  life.  Sunhght  and  atmosphere  pervade  the  rooms  which  Tarbell 
pictures.  "To  Tarbell  his  art  is  primarily,  almost  exclusively,  a  medium 
of  expression  of  abstract  beauty." 

Philip  A.  Hale,  the  well-known  artist  critic,  wrote  in  1898:  "Tarbell's 
"Venetian  bUnd"  is  the  best  picture  that  has  been  done  in  America"  and 
the  jury  of  the  Carnegie  Institute  endorsed  this  opinion  b^'  awarding  the 
picture  the  gold  medal. 

"One  of  the  things  that  makes  Tarbell's  paintings  different  from  that  of 
other  men  is  the  wa}^  he  treats  shadows."     (Arts  and  D.  2:129.) 

Caffin  said:  "Girl  reading"  seems  a  lesson  in  the  holiness  of  beauty. 
His  art,  in  fact,  has  the  quaUty  of  symboUsm  by  which  the  modern  mind 
is  endeavoring  to  interpret  "the  substance  of  things  hoped  for,  the  e\ddence 
of  things  not  seen."  His  \'igorous,  dashing  brush  work  is  alwa3's  sure  to 
attract  attention.  This  was  the  principal  merit  of  his  prize  picture — "The 
bath." 

"Tarbell's  characteristics  are  brilUant  versatiUty,  dexterity  with  the 
brush,  and  spontaneousness  of  effect;  all  regulated  by  innate  good  taste, 
for  he  has  little  or  no  reserve  power."     (The  artist,  27:xx\ii.) 


208 

Frederic  W.  Colburn,  in  an  appreciative  article  on  Tarbell,  says:  "Among 
various  groups  and  factors  of  painters  and  by  the  public  at  large,  he  has  come 
to  be  regarded  as  among  the  most  able  of  living  painters." 

In  writing  of  "Girl  reading,"  Julia  de  Wolf  Addison,  says:  "Tarbell 
is  past  master  in  making  intentional  effects  appear  quite  accidental,  giving 
this  picture  a  peculiarly  natural  and  easy  quality  both  in  color  and  form." 

"Tarbell   regards  the  human  brain  merely  as  a  medium  for 

perceiving  effects  of  light."     (Miither.) 

Kenyon  Cox  has  written:  "  In  the  work  of  Mr.  Tarbell  there  is  an  elegance 
of  arrangement,  a  thoroughness  in  the  notation  of  gradation  of  light,  a  beauty 
and  a  charm  that  were  learned  of  no  modern." 

And  again:  "The  best  example  of  Mr.  Tarbell's  draughtsmanship  is  per- 
haps the  head  of  the  "Girl  mending." The  head  of  the  girl  in  "Pre- 
paring for  the  matinee  "  is  not  so  fine  in  type,  but  its  modeling  in  the  delicate 
half-shadow  cast  by  the  hat  and  the  upraised  arms,  is  nothing  less  than 
masterly." 

"No  one  since  Vermeer  himself  has  made  a  flat  wall  so  interesting — has 
so  perfectly  rendered  its  surface,  its  exact  distance  behind  the  figure,  the  play 
of  light  upon  it  or  the  amount  of  air  in  front  of  it.  (Burlington  Magazine 
14:259.) 

Taylor,  William  Ladd,  (P.,  I.)  b.  Grafton,  Mass.,  Dec.  10,  1854.  Edu- 
cated at  Worcester,  Mass.,  and  in  art  schools  of  Boston  and  N.  Y.  and  studied 
1884-85  under  Boiilanger  and  Lefebvre,  Paris.  Traveled  extensively,  making 
a  particular  study  of  mediaeval  architecture,  costumes  and  customs.  Settled 
in  Boston  1888,  and  has  since  that  time  been  a  well-known  painter  and 
illustrator. 

The  work  which  has  given  Mr.  Taylor  most  reputation,  and  rightly,  is  his 
illustration  of  Owen  Meredith's  poem  entitled  "The  earl's  return." 

Illness  and  a  year's  sojourn  in  Colorado  resulted  in  several  paintings  of 
the  Rocky  mountains:  "The  Caribou  hunter"  and  "Shooting  the  Rapids" 
are  excellent  works  of  the  period. 

Recent  works  as  an  illustrator  are  selections  from  Longfellow's  poem, 
the  psalm  series,  a  series  of  New  England  scenery,  and  a  book  of  pictures 
of  American  life. 

"  The  boy  Christ "  "  The  building  of  the  ship  " 

"  Evangeline  "  "  The  golden  legend  " 

"Minnehaha  and  Hiawatha"  "Priscilla  and  John  Alden" 

"The  village  blacksmith"  "Rosita"  (Illustrating    Bret     Harte's 

"The  hanging  of  the  crane"  "The  mystery  of  the    hacienda") 

"  Maidenhood  "  "  The  children's  hour  " 

"The  old  clock  on  the  stairs" 


209 

Psalm  series: 

"WTien  1  consider  the  heavens."     (Ps.  viii.) 

"The  Lord  is  my  Shepherd."     (Ps.  xxiii.) 

"  When  I  meditate  on  Thee  in  the  night  watches."     (Ps.  Ixiii.) 

"He  shall  give  his  angels  charge  over  thee."     (Ps.  xci.) 

"  I  vdW  Uft  up  mine  eyes  unto  the  hills."     (Ps.  cxxi.) 

"Children  are  an  heritage  of  the  Lord."     (Ps.  cxxvii.) 

Thayer,  Abbott  Henderson,  (P.)  b.  Boston,  Mass.,  August  12,  1849. 
Began  to  draw  and  paint  before  he  was  ten  years  old.  Was  educated  at 
Chauney  Hall  School,  Boston,  and  before  he  was  eighteen  received  as  much 
as  fifty  dollars  for  dog-portraits. 

He  was  first  known  in  New  York  as  an  animal  painter  and  it  was  not  until 
he  went  to  Paris  (1875)  and  studied  in  the  Ecole  des  Beaux  Arts  imder 
Gerome  and  liehmann  that  he  began  to  make  portrait  painting  a  specialty 
and  to  do  some  landscape  work.  Is  a  member  of  the  Academia  de  San  Luca, 
Rome  and  of  the  National  Academy  of  Design,  New  York. 

"Sleep,"  an  idealized  likeness  of  his  eldest  daughter  as  a  sleeping  infant, 
was  one  of  Mr.  Thayer's  earliest  pictures  to  attract  general  attention.  His 
three  masterpieces  are  "The  \irgin,"  "The  virgin  enthroned"  and  "Caritas." 
(His  children  were  his  models.) 

His  chief  work  is  the  finely  conceived  mural  decoration  in  Bowdoin  College, 
Brunswick,  Maine, — a  fresco  representing  "Florence"  forms  one  of  four 
lunettes. 

A  few  landscapes  are:  "Sketch  of  Cornish  headlands,"  "Capri,"  "Mon- 
adnock  in  winter." 

The  ke>Tiote  of  his  art  is  simpUcity  and  the  chief  characteristic  of  the  sub- 
jects he  chooses  is  a  deep  spirited  meaning. 

Hartmann  says:  "Abbott  Thayer's  work  occupies  indeed  a  strange 
position  in  the  world's  art.  It  is  a  modem  combinat'on  of  the  inwardness 
of  the  middle  ages  and  the  vagueness  of  the  orient.     His  pictures  take  the 

place  of  the  old  reUgious  symbols and  yet  they  are  imbued  with  so 

devout  a  spirit  that  they  could  be  used  as  shrines  for  worship  in  modern 
homesteads,  reminding  us  of  all  that  is  good  and  noble  in  human  race." 

Craftsman:  "He  paints  symbolical  figures  and  groups  of  great  beauty 
in  an  austere  but  impressive  style." 

"It  is  however  as  an  interpreter  of  vnrginity  that  this  paint«r  is  especially 
distinguished His  virgins,  it  has  been  w^ell  said,  are  obviously  in- 
tended to  be  adored,  but  they  are  at  the  same  time  essentially  human." 
(Int.  studio  39:187.) 

Th.wer,  Theodora  W..  (Min.  P.)  b.  Milton,  Mass.,  1868:  d.  August  6, 
1905.     Studied  with  Joseph  DeCamp,  Bo.ston,  and  was  an  active  member 
27 


J 


210 

of  the  American  Society  of  Miniature  Painters  and  of  the  Copley  Society  of 
Boston;  taught  for  several  years  in  the  New  York  School  of  Art  and  was  one 
of  the  instructors  at  the  Art  Students  League;  was  recognized  as  one  of  the 
best  of  teachers. 

Her  fine  portrait  of  Bliss  Carman  is  one  of  the  memorable  achievements 
in  American  miniature  painting.  At  one  of  the  society's  exhibitions,  she 
showed  "a  wee  miniature  of  a  wee  speck  of  humanity,  a  baby's  head  painted 
in  a  cloud  of  sweet  mist."     (Brush  &  P.  6:26.) 

Her  work  is  wonderfully  full  of  character  and  charm.  She  painted  with 
grace  and  nobility  of  treatment. 

Tiffany,  Louis  Comfort,  (Stained-glass  designer)  b.  New  York,  Febru- 
ary 18,  1848.  Pupil  of  George  Inness  and  Samuel  Colman  in  New  York, 
and  Leon  Bailly  in  Paris.  Received  gold  medal  for  applied  arts  at  the 
Paris  Exposition,  1900;  elected  chevalier  of  the  Legion  of  Honor  of  France, 
1900;  grand  prize  at  Turin  Exposition,  1904;  associate  member  National 
Academy  of  Design,  1871;  academician,  1880.  Is  art  director  of  the  Tiffany 
studios. 

It  is  Mr.  Tiffany's  achievement  in  stained  glass  work  that  has  brought 
him  world  fame.  It  is  acknowledged  by  all  experts  that  the  great  advance 
made  in  this  country  in  both  colored  windows  and  wall  mosaic  work  is  largely 
due  to  the  discoveries  and  inventions  of  Mr.  Tiffany,  particularly  that  of 
Favrile  glass.  He  has  received  many  personal  honors,  such  as  being  made  a 
member  of  the  Societe  National  des  Beaux  Arts,  Paris,  also  of  the  Imperial 
Society  of  Fine  Arts,  Tokio,  Japan. 

In  painting,  Mr.  Tiffany  makes  a  specialty  of  oriental  scenes.  Well- 
known  subjects  in  oil: 

"Street  scene  in  Tangiers"  "Market  day  at  Nuremberg" 

"Feeding  the  flamingoes"  "Study  of  Quimper,  Brittany" 

"Dock  scene"  "Duane  street,  New  York" 
"The  cobblers  at  Boufarick" 

TiLLiNGHAST,  Mary  ELIZABETH,  (P.,  stained  glass  designer)  b.  New  York; 
d.  December  15,  1912.  Pupil  of  John  LaFarge  in  New  York;  Carolus- 
Duran  and  Henner  in  Paris.  Has  won  several  gold  and  bronze  medals. 
Specialty,  designs  for  stained  glass. 

Trumbull,  John,  (P.)  b.  Lebanon,  Conn.,  June  6,  1756;  d.  New  York, 
November,  1843.  The  son  of  the  colonial  governor  of  Connecticut,  Jona- 
than Trumbull,  he  was  the  greatest  historic  painter  of  America.  A  gradu- 
ate of  Harvard  University,  his  artistic  taste  was  awakened  by  familiarity 
with  the  portraits  of  Copley  and  Smibert.  He  served  with  distinction  in 
the  armies  of  Washington  and  Gates.  Early  in  1777  he  resignetl  from  the 
army  and  devoted  himself  to  art  as  a  profession,  going  to  London.     In  1784 


211 

he  conceived  the  idea  of  his  historical  pictures  of  the  revolution  and  went  to 
Paris  where  he  painted  his  "Declaration  of  Independence"  assisted  by  the 
information  and  advice  of  Thomas  Jeffereon. 

In  1789  he  returned  to  America.  As  an  inaugurator  of  serious  histori- 
cal painting,  Trumbull  bore  a  very  worthy  part,  and  he  carried  portraiture 
to  its  highest  limits  by  making  portraits  from  life  for  all  the  chief  figures 
introduced  into  his  canvases.  His  portrait  of  General  Washington  (in  the 
New  Haven  collection)  must  be  regarded  as  a  standard  portrait  of  the  father 
of  his  country.  When  Lafayette  first  beheld  a  copy  of  this  picture  on  his 
visit  to  this  country  in  1824,  he  was  delighted  with  its  resemblance.  Tucker- 
man  says:  "The  most  spirited  portrait  of  Washington  that  exists — the  only 
reflection  of  him  as  a  soldier  of  freedom  in  his  mature  years,  worthy  of  the 
name,  drawn  from  life — is  Trumbull's." 

Trumbull  was  commissioned  to  paint  four  of  the  eight  commemorative 
pictures  in  the  capitol  at  Washington.  He  was  eight  years  at  the  task  and 
received  $32,000  for  the  four  paintings: 

"Declaration  of  Independence"        "Surrender  of  General  Burgoyne" 
"Surrender  of  Lord  Cornwallis"        "Resignation  of  Washington" 

Other  important  historical  paintings  are:  "Battle  of  Bunker  Hill." 
''Death  of  General  Montgomery,"  "Battle  of  Trenton,"  "Battle  of  Prince- 
ton." 

"Trumbull's  works  still  hold  their  rank  not  only  for  their  historical  in- 
terest but  for  their  artistic  merit."  Critics  rank  his  "  Death  of  Montgomery  " 
&s  the  most  spirited  battle  piece  ever  painted.  His  portrait  of  Alexander 
Hamilton  is  one  of  the  best  portraits  he  ever  did. 

Trumbull  was  the  first  president  of  the  Academy  of  Arts,  New  York. 

Tryox,  Dwight  William,  (P.)  b.  Hartford,  Conn.,  August  13,  1849. 
Pupil  of  C.  Daubigny,  Jacquesson  de  la  Chevreuse,  A.  Guillemet  and  H.  Harp- 
ignies  in  Paris.  Received  gold  medals  of  the  American  Art  Association, 
New  York,  1886  and  1887;  third  Hallgarten  prize  of  the  National  Academy 
of  Design,  New  York,  1887;  gold  medal  of  Carnegie  Institute,  Pittsburgh, 
1898;  was  awarded  the  Webb  prize  in  1889  for  his  "First  leaves,"  and  first- 
class  medal  at  the  Munich  International  Exposition  in  1892  for  his  "Rising 
moon."  Is  a  member  of  the  National  Academy  of  Design,  New  York,  and 
professor  of  art  in  Smith  College. 

"  He  masters,  like  no  one  else,  the  uncertain  tonalities  of  dawn  and  twilight. 
Tryon's  pictures  are  almost,  literally  speaking,  musical  in  their  effect,  not 
unlike  the  pizzicato  notes  on  the  "A"  string  of  a  violin.     His  parallelism 

of  horizontal  and  vertical  lines  is  like  melodic  phrasing Tryon  has 

reached  the  calm  perfection  of  Japanese  art."     (Hartmann.) 


212 


Characteristic  color  melodies: 


'' Before  sunrise — June"  "October" 

"A  lighted  \illage"  "December" 

"Sea— morning"  "Twilight" 

"  Sea — sunset "  "  The  evening  star  " 

"Sea— night"  "Springtime" 

"Day  break"  "Summer" 

"  Morning  "  "  Autumn  " 

"Moonlight"  "Winter" 

"  April  morning  "  "  New  England  hills  " 

^Ir.  Tryon  has  added  much  to  the  w^orld's  store  of  poetic  interpretation 
of  nature.  Equally  refined  as  his  "poems  of  early  spring"  are  his  moonlight 
scenes  and  his  snowy  landscapes.  He  has  interpreted  sunsets,  storms, 
mountains  and  rugged  nature  with  as  powerful  a  brush  as  any  painter. 

"In  his  pictures  may  be  seen,  as  in  Daubigny's,  a  silvery  grey  atmosphere 
against  which  the  tracery  of  young  foliage  stands  out  in  relief,  green  shining 
meadows  and  softly  rippling  streams,  cornfields,  appletrees  and  fruit  gardens.'' 
(Miither.) 

Turner,  Charles  Yardley,  (Mural  P.)  b.  Baltimore,  Md.,  November 
25,  1850.  In  1872  went  to  New  York  and  entered  the  National  Academy 
of  Design;  after  spending  three  years  in  the  school  and  taking  a  bronze 
medal  and  a  money  prize,  he  went  to  Paris  and  studied  under  Laurens, 
Munkaczy  and  Bonnat.  In  Holland  he  found  the  subject  of  his  famous 
picture  "The  grand  canal  at  Dordrecht;"  his  best  water-color  is  "Dordrecht 
milkmaid." 

Mr.  Turner  was  assistant  director  of  decoration  at  Columbian  Exposition, 
Chicago,  1893,  and  director  of  color  at  the  Pan-American  Exposition,  Buffalo, 
1901.     Is  a  member  of  the  National  Academy  of  Design. 

His  finest  mural  work  is  a  series  of  wall  paintings  in  the  corridor  of  the 
Baltimore  court  house,  the  subject  of  which  is  the  incident  of  the  brig  Peggy 
Stewart  entering  the  harbor  of  Annapolis  in  1774. 

His  Puritan  subjects  are  particularly  fine,  and  great  favorites.  Most 
noted  are: 

"Courtship  of  Miles  Standish"  "The  bridal  procession" 

"  John  Alden's  letter  "  "  Martha  Hilton  " 

Mural  work  is  in  hotels  Manhattan,  Waldorf-Astoria,  Martinique,  and 
Bank  of  Commerce  building.  New  York. 

Turner,  Ross  Sterling,  (P.,  I.)  b.  Westport,  N.  Y.,  June  29,  1847. 
Studied  in  Munich  and  in  Italy.  Instructor  Mass.  Normal  Art  School  and 
Mass.  Institute, of  Technology. 


213 

A  few  of  his  best  known  works  in  oil  and  water  colors  are: 

"  A  small  court,  Mexico  "  "  FMng  Dutchman  " 

"  El  Jardin,  Modesto  "  "  A  Bermuda  Avedding  " 

"  A  paints  ship  " 

The  inspiration  for  his  "  Golden  galleon  "  is  said  to  have  been  derived  from 
Lockhart's  Spanish  ballad,  "Count  Arnaldo's  galley." 

"Above  and  beyond  any  qualities  he  possesses,  and  the\'  are  man)',  Ross 
Turner  is  a  colorist.  His  is  the  rare  sense  which  discriminates  between 
"colors"  and  "color." 

TwACHTMAX,  JoHX  Henry,  (P.)  b.  Cincinnati,  O.,  August  4,  1853;  d. 
Gloucester,  Mass.,  August  8,  1902.  Pupil  of  the  National  Academy  of  Design, 
Xew  York,  and  of  Frank  Duveneck  in  Munich  and  Italy;  studied  also  at 
the  Academic  JuUen  and  under  Boulanger  and  Lefebvre,  Paris. 

Won  the  Webb  prize,  1888;  Temple  gold  medal,  1895.  Was  a  member 
of  the  American  Art  Club,  Munich.  In  1898  he  founded  the  organization 
known  as  the  Ten  American  Painters.* 

Cafl5n  saj's:  "In  his  "Brook  in  winter"  it  is  the  soul,  as  it  were,  of  the 
still  cold  dormant  world  that  he  has  rendered.  Never  has  been  better  ex- 
pressed through  the  subtle  resources  of  modern  methods  of  painting  the 
suggestion  of  the  abstract." 

His  artistic  quaUties  are  also  well  represented  in 

"  The  hemlock  pool "  "  The  end  of  winter  " 

"  Drjing  sails  "  "  Round  HiU  road  " 

"The  torrent  "  "Landscape  in  spring" 

"He  recognized  as  few  can,  the  poetic  side  of  snowy  pastures  and  snow- 
boimd  woodland  rills  and  marshes.  His  painting  of  the  damp  winter  weather 
surcharged  with  latent  snowfall  has  never  been  surpassed."  (Innes  "Schools 
of  painting.") 

In  his  handling  of  the  elements  of  natural  scener}',  particularly  in  rep- 
resenting snow  upon  the  branches  of  trees,  he  shows  a  high  degree  of  skill. 
(Nat.  Cyc.  Am.  Biog.) 

Mr.  Twachtman  is  supposed  to  have  been  the  first  American  artist  to  em- 
ploy blue  shadows. 

From  "  An  appreciation  "  published  in  the  North  American  Review  shortly 
after  the  death  of  Mr.  Twachtman,  the  following  extract  is  made: 

"In  defining  the  quality  of  Twachtman's  paintings,  one  would  say  that, 

first  of  all  he  was  a  master  of  "values" — as  much  so  as  Whistler 

One  of  his  paintings  instantly  arrests  the  eye  of  the  connoisseur  by  a  certain 


•  Society  cf  the  Ten  American  Painters  was  organized  .January,  189S.  Xo  particular  aim  except 
that  of  exhibiting  independently  of  juries  once  a  year.  Orimnal  members;  Benson,  DeCamp, 
Dtwlng,  Hassam,  Metc3lf,  Reid,  Simmoas,  Tarbell,  Twachtman,  Weir. 


214 

aspect,  as  original  as  Thoreau,  and  somtimes  curiously  like  him."  (T.  W. 
Dewing.) 

"The  great  beauty  of  design  which  is  conspicuous  in  Twachtman's  paintings 
is  what  impressed  me  always  ....   His  use  of  line  was  rhythmic,  and  the 

movements  were  always  graceful  His  work  as  color  had  delicate 

refinement  and  truth."     (Childe  Hassam.) 

"He  painted  as  all  men  have  done  who  have  made  great  art;  he  painted 
the  atmosphere  of  his  time."     (Robert  Reid.) 

"In  the  death  of  John  H.  Twachtman  we  lose  one  of  our  best  landscape 
painters  ....  The  canvases  which  Twachtman  has  left  us  like  all  work  of 
signally  original  merit,  may  prove  for  a  time  too  fine  a  food  for  the  general 
palate."     (Edward  Simmons.) 

"To  mj'  mind,  he  was  in  advance  of  his  age  to  the  extent  that  like  many 
others,  he  lived  ahead  of  his  epoch."     (J.  Alden  Weir.) 

None  of  our  landscape  painters  surpasses  him  in  subtle  delineation  of 
atmospheric  effects  and  values  generally.  To  many  art  critics,  Mr.  Twacht- 
man ranks  as  the  greatest  American  landscape  painter. 

Ulrich,  Ch.\rles  Frederick,  (P.)  b.  N.  Y.  October  18,  1858;  d.  Berhn, 
Ger.  May  15,  1908.  Studied  at  the  National  Academy  of  Design  in  New  York 
and  with  Loefftz  and  Lindenschmidt  in  Munich.  In  1884  he  was  the  first 
recipient  of  the  Clark  prize  at  the  National  Academy  of  Design  and  this 
picture  "The  land  of  promise"  now  belongs  to  the  National  Gallery  of  Art, 
Washington,  D.  C. 

His  painting  "The  glass  blowers  of  Murano"  is  now  in  the  Metropolitan 
Museum  of  Art,  N.  Y.,  and  marked  the  climax  of  his  success. 

Elected  associate  member  National  Academy  of  Design  1883. 

He  resided  in  Venice  for  many  years  and  was  recognized  in  art  circles  in 
Germany,  France  and  England. 

"Critics  praised  his  pictures  for  their  exquisite  technique,  their  finish  in 
detail,  their  purity  of  color  and  their  strength  of  character." 

Vail,  Eugene,  (P.)  was  born  of  American  parents  at  Saint  Servan,  Brit- 
tany, September  29,  1856;  studied  in  Art  Students  League,  N.  Y.,  under 
Carrol  Beckwith  and  William  M.  Chase  and  at  Ecole  des  Beaux  Arts  Paris 
under  Cabanal,  later  under  Dagnan-Bouveret  and  Raphael  Collin.  Medals, 
prizes  and  distinguishing  honors  have  come  to  Mr.  Vail  in  recognition  of  his 
artistic  ability. 

Four  scenes  of  seafaring  life,  very  beautiful  in  color  and  among  the  very 
strongest  and  best  pictures  of  the  kind  at  the  Paris  Exposition,  1900,  were 
"Ready  about,"  "Port  of  Concarneau,"  "The  widow,"  and  "On  the  Thames." 


215 


Other  admired  works  are: 


"  The  hour  of  prayer  "  "  A  rainy  day  " 

"  Evening  in  Brittany  "  " Twilight " 

"Autumn  near  Beau vais"  "Rio  della  Madonetta,  Venice" 

"Chemindefoi" 

Vail's  landscapes  are  marked  by  an  exquisite  sense  of  nature,  at  once 
delicate  and  full  of  force.  The  fisherfolk  of  Brittany  are  a  favorite  sub- 
ject with  Vail,  as  are  the  Dutch  peasants  with  Melchers. 

Miither  says  that  Vail  was  influenced  by  Mesdag  and  DeNittis  in  his  Dutch 
sea-pieces  and  pictures  of  the  port  of  London,  which  are  shrouded  in  a  heavy, 
melancholy  mist. 

Cafl&n  says:  "Eugene  Vail  while  seeing  into  the  soul  of  his  subjects, 
^^ews  it  with  a  personal  sympathy  and  interprets,  so  to  speak,  in  terms 
of  spirit  rather  than  matter.  That  is  to  say,  he  does  not  compel  your  attention 
to  the  physical  properties  of  the  figures  and  the  landscape;  he  envelops  the 
whole  in  atmosphere,  enriching  it  with  somber  but  tenderly  impressive  har- 
mony of  color;  so  that  the  picture  is  as  full  of  myster\-  as  of  suggestion.  It 
puts  us  into  spirit-communion  with  the  place  and  its  inhabitants;  which  as 
I  understand  it,  involves  a  superior  knowledge  and  at  the  same  time  an 
acknowledgment  of  how  much  there  is  unknowable.  It  represents  the  vision 
of  a  poet." 

Van  Eltex,  Hexdrik  Dirk  Krusemax,  (P.,  E.)  b.  Alkmaar,  Holland, 
1829;  d.  Paris,  France,  July  12,  1904.  WTien  fifteen  years  of  age  was  sent 
to  Haarlem  to  study  painting  under  C.  Lieste,  a  landscape  painter  of  repute. 
He  won  a  gold  medal  at  the  International  Exhibition  at  Amsterdam  in  1860 
and  was  made  a  chevalier  of  the  Order  of  the  Lion  of  the  Netherlands.  He 
came  to  New  York  in  1865.  He  was  a  member  of  the  Amsterdam  and  Rotter- 
dam academies,  was  elected  academician  of  the  National  Academy  in  1883, 
also  belonged  to  the  American  Water  Color  Society,  New  York  Etching  Club, 
and  the  Royal  Society  of  Painter-Etchers  of  London. 

S.  R.  Koehler  writes  in  the  American  Art  Review,  1880:  "Perhaps  it 
would  be  permissible  to  class  him  as  an  "international"  artist  for  at  the 
Centennial  Exhibition  of  1876  he  exhibited  as  an  American  in  the  American 

department  and  as  a  Hollander  in  that  of  the  Netherlands Mr. 

Van  Elten's  claim  to  be  considered  an  American  was  long  ago  recognized 
by  the  National  Academy  of  Design  by  his  election  in  1871  to  the  position 
of  an  associate  in  that  body  ....  In  his  choice  of  subjects  Mr.  Van  Elten 
seems  to  betray  the  Dutch  blood  that  flows  in  his  veins.  He  loves  the  flat 
expanse  of  the  grain  fields  and  the  meadows,  the  quiet  copse,  the  dilapidated 
hut  or  the  river  bank  grown  with  reeds  in  which  the  fisherman  maj'  hide  his 
boat,  and  he  finds  these  subjects  both  here  and  in  his  native  Holland." 


216 

A  group  of  200  of  his  paintings  was  sold  at  the  American  Art  Galleries  in 
New  York,  April  27  and  28,  1905,  under  the  auspices  of  the  Artists'  Aid  Society 
of  New  York,  bringing  $9,335. 

Van  Ingen",  William  Brantlfa',  (Mural  P.)  b.  Philadelphia,  Pa.,  August 
30,  1858.  Pupil  of  Eakins  in  Philadelphia;  LaFarge  in  New  York,  Bonnat 
in  Paris.     Member  Mural  Painters;  fellowship  P.  A.  F.  A. 

His  best  known  mural  work  is  a  series  of  sixteen  panels  in  the  senate 
chamber  of  the  state  house,  Trenton,  N.  J.,  entitled  "The  cause  of  indepen- 
dence and  prosperity."  He  has  also  done  much  mural  work  in  private 
residences  in  Philadelphia. 

"His  attack  of  the  subject  is  bold  and  candid,  his  sketches  carefully 
wrought,  his  brushwork  adequate."     (Arch.  rec.  13:323.) 

Vedder,  Elihu,  (P.,  S.,  I.,  Mural  P.)  b.  New  York,  February  26,  1836, 
of  parents  whose  ancestry  is  in  the  Netherlands.  It  is  related  that  as  a  child 
he  chewed  sticks  into  brushes  and  spent  his  money  for  cheap  paints.  Very 
early  he  received  instructions  in  art  and  in  1856  went  to  Europe,  spending 
the  winter  in  Paris  studying  in  the  atelier  of  Picot.  In  the  following  spring 
he  went  to  Italy  and  spent  four  years  there;  returning  to  the  United  States 
in  1861  he  opened  a  studio  in  New  York.  He  was  elected  an  associate  member 
of  the  National  Academy  of  Design  in  1863;  full  member  in  1865. 

Mr.  Vedder  returned  to  Rome  in  1866  where  he  has  since  resided  rarelv 
exhibiting  in  the  United  States. 

"A  note  of  mystery,  a  recognition  of  the  infinite  and  unknowable  forms 
a  characteristic  of  Vedder's  work  ....  It  is  calm,  virile,  intellectual,  a  mystery 
of  which  Darwin  and  Huxle}"^  might  well  approve."     (Isham.) 

Julia  de  Wolf  Addison  says:  "His  message  seems  to  embody  the  spirit 
of  the  past;  not  alone  the  classical,  not  alone  the  mediaeval,  nor  the  renais- 
sance, but  in  a  subtle  manner  all  his  own  he  makes  his  admirers  feel  the 
atmosphere  of  all  these  fused  together " 

Vedder's  "Head  of  Lazarus"  is  the  best  representative  of  his  decorative 
art;  "Sea  serpent"  shows  his  naturalistic  painting,  and  in  his  "Sphinx" 
he  becomes  realistic  in  portrayal.  Of  his  "Keeper  of  the  threshold"  an 
enthusiastic  admirer  says  that  if  it  is  possible  for  a  picture  to  hypnotize, 
he  feels  sure  that  this  one  has  such  power.  "  Its  fascination  for  me  is  as 
strong  even  yet,  and  I  am  still  under  its  spell  though  an  ocean  lies  between 
us." 

"Compositions  like  "The  refuge"  are  full  of  deep  suggestions  and  wierd 
attempts  in  psychology  of  color."     (Hartmann.) 


217 

A  few  other  characteristic  paintings  are: 

"  The  African  sentinel "  "  Cumean  sibyl " 

"The  monk  upon  the  gloomy  "The  lost  mind" 

path  "  "  The  crucifixion  " 

"The  death  of  Abel"  "A  Greek  actor's  daughter" 

"  A  scene  on  the  Mediterranean  "  "  Young  Marsyas  " 

His  illustrations  of  Edward  Fitzgerald's  translation  of  the  "Rubaiyat" 
of  Omar  Kha\yam,  published  in  1884,  won  him  world-wide  renown.  His 
mural  work  at  Bowdoin  College  and  in  the  Library  of  Congress,  Washing- 
ton, has  that  peculiar  element  of  personahty  which  is  so  true  in  its  import 
and  yet  so  mysterious  and  eluding  when  tr>-ing  to  define  its  character. 

EUzabeth  Luther  Car>'  says:  "His  human  forms  are  the  abodes  of  for- 
eign spirits,  great  unhuman  powers  personified  ....  His  mind  is  of  an  austere 
tendency  and  he  holds  us  to  the  contemplation  of  these  abstractions  with  an 
almost  noble,  but  seldom  fier\-,  line  and  \\-ithout  allurements  of  color  or  sur- 
face." 

In  1880  an  art  review  said:  "If  it  be  the  mission  of  an  original  talent 
to  bring  into  the  world  not  peace  but  a  sword,  Yedder  has  had  the  com- 
pliment of  creating  this  kind  of  a  disturbance." 

Mr.  Vedder  is  a  painter  of  ideas.  His  style  is  naturalistic  as  relates  to 
truth  of  illustrating,  but  ideal  and  intellectual  in  motive.  (Jarves  "Art 
idea.") 

VixTOX,  Frederic  Porter,  (P.)  b.  Bangor,  Maine.  January  29,  1846; 
d.  Boston,  Mass.,  !May  19,  1911.  Pupil  of  William  Hunt  and  Dr.  Rimmer  in 
Boston,  Bonnat  and  Jean  Paul  Laurens  in  Paris,  also  at  the  Royal  Academj- 
of  Bavaria,  where  he  studied  under  ^lauger  and  Dietz.  Honorable  mention 
in  Paris  salon,  1890:  member  of  the  National  Academy,  1891. 

"The  early  life  of  Mr.  Vinton  was  passed  in  mercantile  business  in  Boston, 
but  the  later  years  were  devoted  entirely  to  art.  At  a  memorial  exhibition 
of  124  of  his  paintings  held  at  the  iluseum  of  Fine  Arts,  Boston,  fift}'  were 
portraits. 

"Vinton's  sterUng  qualities  as  a  portrait  painter  are  well-known.  He  was 
a  strong,  incisive  and  thorough  draughtsman,  a  serious  and  studious  observer, 
with  a  deep  respect  for  his  art  and  for  himself  as  an  artist." 

"  His  grasp  of  character  in  his  men  sitters — and  he  was  almost  exclusively 
a  painter  of  men — ^is  in  the  best  of  his  portraits  ....  and  on  a  par  with  that 
of  the  great  portrait  painters.  A  large  number  of  men  who  sat  for  him  were 
statesmen,  jurists,  philanthropists,  authors,  soldiers  and  successful  profes- 
sional men."     (Art  &  P.  3:474.) 

"His  landscapes  were  made  chiefly  for  recreation,  for  play,  and  in  the 
intervals  of  more  arduous  undertakings.     Based  upon  a  silver}'  gray  prin- 


218 

eiple  of  coloiing,  they  were  delicate  and  sober,  but  free  from  dullness  and 
heaviness." 

VoLK,  Douglas,  (P.)  b.  Pittsfield,  Mass.,  February  23,  1856.  When  four- 
teen years  of  age  accompanied  his  parents  to  Rome  where  he  became  inter- 
ested in  painting  and  studied  in  the  Saint  Luke  Academy.  In  1873  studied 
in  Paris  with  Gerome.  His  "In  Brittany"  was  exhibited  in  the  salon  of 
1875. 

He  was  instructor  in  Cooper  Institute,  New  York,  1879-84.  Has  been 
awarded  many  medals  and  prizes.  Was  elected  associate  member  of  the 
National  Academy  of  Design,  New  York,  in  1898;  full  member,  in  1899. 

Writes  and  lectures  on  the  subject  of  art  with  a  view  to  the  introduction 
of  more  artistic  methods  and  a  higher  standard  of  teaching  as  opposed  to  the 
usual  mechanical  system  in  art  institutions. 

"Mr.  Volk  is  a  figure  painter  who  reUes  upon  the  subject  of  his  w^ork  to 
suggest  Americanism." 

Generally  he  paints  a  bit  of  the  pine  forest,  rude  and  solemn,  and  places 
in  it  a  girl  or  boy  with  such  differences  of  motive  as  are  suggested  by  the 
titles. 

"  Song  of  the  pines  "  "  Thoughts  of  youth  " 

"The  woodland  maid"  "Accused  of  witchcraft" 

"  A  winter  walk  "  "  Young  pioneer  " 

"The  boy  with  the  arrow"  "A  belle  of  the  colonies" 
"A  colonial  youth" 

"The  spirit  of  the  nation's  past  and  of  its  best  hopes  for  the  future  seems 
to  be  figured  in  these  types."     (The  artist  29:xx.) 

VoNNOH,  Bessie  Potter,  (Mrs.  Robert  W.  Vonnoh)  (S.)  b.  St.  Louis, 
Mo.,  August  17,  1872.  Pupil  of  Chicago  Art  Institute  under  Lorado  Taft. 
Spent  four  months  in  Paris  in  1895  and  four  months  in  Florence  in  1897. 
Was  married  to  Robert  William  Vonnoh,  a  painter,  September  17,  1899. 
Is  a  member  of  the  National  Sculpture  Society.  Was  elected  an  associate 
member  of  the  National  Academy  of  Design  in  1906. 

Mrs.  Vonnoh's  specialty  is  modeling  diminutive  portraits.  Her  work 
is  suggestive  of  the  figurines  done  in  terra  cotta  by  the  sculptors  of  Tanagra, 
whose  work  was  entirely  unknown  to  her  when  she  began  her  little  figures. 
She  presents  modern  life  and  modern  costumes  and  conditions.  Her  work 
is  impressionistic,  suggesting  character  without  expressing  it.  "At  her  best 
the  figurines  are  a  joyous  and  lovely  expression  of  a  charming  side  of  our  life. 
They  are  like  flowers  in  their  poise  and  delicacy  and  in  their  exquisite  fragil- 
ity." 


219 

"Dancing  girl,"  the  personification  of  the  modern  skirt  dance,  has  grace 
and  rhythm,  and  "Young  mother"  is  the  finest  thing  she  has  ever  done.  A 
httle  bust  called  "Mildred"  is  charming  and  shows  an  intimate  knowledge 
of  character;  and  a  recent  figurine  of  a  little  girl  who  is  industriously  engaged 
in  eating  a  potato  with  a  wooden  spoon  is  delightful,  and  suggests  Boutet 
de  Monvel  "in  its  frank  acceptance  of  the  peculiarities  which  are  really  the 
charm  of  childhood."     (Brush  &  P.  2:29.) 

"Mrs.  Yonnoh's  "figurines"  and  httle  groups  have  the  bigness  of  true 
plastic  conceptions  and  at  the  same  time  that  exquisite  refinement  possible 
only  to  works  of  small  scale.  Because  of  inherent  merit  the  question  of  size 
does  not  signify.  These  bronzes  have  a  charm  and  grace  pecuUarly  their 
own.  Her  young  mothers  are  essentially  maternal,  her  young  women  de- 
lightfully feminine,  yet  womanly,  her  children  are  childish,  lovable,  sincere. 
Thus  in  her  little  groups,  Mrs.  Vonnoh  touches  upon  those  human  relation- 
ships which  are  elemental,  and  stirs  emotions  both  deep  and  profound.  Her 
message  is  delivered  with  a  lightness  of  touch  and  outward  serenity,  but  it 
makes  universal  appeal."     (Art  &  P.  January,  1913.) 

In  writing  of  the  winter  exhibition  of  the  National  Academy  of  Design,  a 
critic  comments:  "Bessie  Potter  Yonnoh  with  small,  giaceful  figures 
preached  the  sermon  of  idealism  captivatingly." 

Vonnoh,  Robert  William,  (P.)  b.  Hartford,  Conn.,  September  17,  1858. 
Pupil  of  Massachusetts  Normal  Art  School,  Boston,  also  of  Academie  JuUen, 
Paris  under  Boulanger  and  Lefebvre.  Instructor  Massachusetts  Normal 
Art  School,  Boston,  Cowles  Art  School,  Boston,  Boston  Museum  of  Fine  Arts, 
Pennsylvania  Academy  of  the  Fine  Arts;  N.  A.,  1906. 

Exhibited  at  the  salons  of  1888,  1889,  1890,  1891.  Received  honorable 
mention,  1888;  medal  at  Paris  Exposition,  1889.  Exhibited  several  years 
at  Munich  expositions.     Specialty,  portraits. 

After  studying  at  Grez  sur  Loing,  near  the  Forest  of  Fontainebleau  he 
said:  "I  gradually  came  to  realize  the  value  of  first  impressions  and  the 
necessity  of  correct  values,  pure  color  and  higher  kej^,  resulting  in  my  soon 
becoming  a  devoted  disciple  of  the  new  movement  in  painting."  (Nat.  Cyc. 
Am.  Biog.) 

Some  highly  decorative  compositions  are: 

"  Hydrangeas  "  "  In  costume  " 

"Reverie"  "Phoebe" 

Walden,  Lionel,  b.  Norwich,  Conn.,  May  22,  1862.  Studied  with  Caro- 
lus-Duran,  Paris.  Received  honorable  mention  in  the  Paris  salon;  silver 
medal  at  Paris  Exposition,  1900;  third-class  medal  in  salon  of  1903. 

Represented  in  the  Luxembourg  Gallery,  Paris,  Memorial  Museum,  Phil- 
adelphia, and  Art  Gallerj%  Cardiff,  Wales. 


220 

Member  of  the  Societe  Internationale  de  Peinture  et  Sculpture,  Societe 
de  Peintre  de  IMarine  Paris,  and  Society  of  Paris  American  Painters. 

A  noteworthy  American  in  Paris,  Mr.  Walden  is  a  painter  of  marine  scenes 
and  a* proficient  delineator  of  shipping  and  harbor  life;  has  also  painted  some 
figure  and  landscape  subjects,  such  as: 

"  The  torrent "  "  Out  for  a  sail " 

"The  end  of  winter"  "Summer  evening" 

"Night  on  the  Mount  of  Olives"  is  one  of  his  pictures  exhibited  in  the 
Paris  salon. 

Walker,  Henry  Oliver,  (P.,  Mural  P.)  b.  Boston,  Mass.,  May  14,  1843. 
After  a  common  school  education  he  took  up  mercantile  pursuits,  but  soon 
gave  up  this  line  of  work  for  the  profession  of  art,  going  to  Paris  in  1879  to 
study  under  M.  Bonnat.  Returned  to  the  United  States  three  years  later; 
settled  in  Boston  but  later  removed  to  New  York  City. 

Member  of  the  Society  of  American  Artists  and  of  the  National  Academy 
of  Design.  In  1894  he  received  the  Shaw  fund  prize  for  "The  singers,"  and 
the  following  year,  the  Clark  prize  for  "A  morning  vision."  "The  boy  and 
the  muse"  is  another  celebrated  picture.  Aside  from  his  reputation  as  a 
figure  painter,  ^Ir.  Walker  is  well-known  for  his  achievements  in  mural 
painting.  His  best  wall  decorations  are  to  be  seen  in  the  Library  of  Congress, 
Washington,  D.  C,  Appellate  courts.  New  York;  the  ^lassachusetts  and 
Minnesota  state  capitols. 

W.\LKER,  Horatio,  (P.)  b.  Listowel,  Ont.,  1858.  Studied  miniature 
painting  under  J.  A.  Fraser,  Toronto,  also  in  New  York.  Has  been  awarded 
medals  at  exhibitions  in  Paris  and  United  States.  jNIember  of  the  Royal 
Institute  of  Painters  in  Water-colors,  England;  member  of  the  National 
Academy  of  Design,  New  York,  1891.  Largely  self-taught,  his  achieve^ 
ment  constitutes  one  of  the  most  notable  conquests  in  the  history  of  art. 

He  paints  the  rustic  life  of  the  peasant  types  on  the  Isle  of  Orleans  in 
the  St.  Lawrence  river.  Walker's  subjects  are  the  same  as  Millet's  but 
Walker  treats  them  in  a  more  impersonal  manner.  "To  Walker  these 
peasants  going  to  their  daily  tasks  are  a  symbol  of  the  eternal  stability  of 
life,  of  a  quiet  harmony  with  nature's  laws." 

"Horatio  Walker  handles  his  brush  broadly.  His  color  is  always  rich, 
pure  and  true,  whether  inclining  to  the  sombre  and  deeper  notes,  or  to  brighter 
keys  where  it  is  joyous  and  vibrating,  full  of  the  intimate  charm  of  sunshine." 
He  combines  realism  and  classicism  to  a  decorative  as  well  as  suggestive  art, 
which  satisfies  the  most  modern  taste. " 


221 


Characteristic  works: 


''Morning  milking"  " Man  felling  a  tree " 

"  Wood  cutters  "  "  The  potato  pickers  " 

"  Oxen  drinking  "  "  Girl  feeding  turkeys  " 

"  Shepherdess  and  sheep  "  "  A  summer  pastoral " 

"Sheepfold"  "The  harrower" 

"  Tree  fellers  "  "  HauUng  the  log  " 

"A  spring  morning"  "Sheepyard — ^moonUght" 

"The  thresher" 

"Walker's  art  while  inamediately  concerned  with  the  local  and  individual 
character  of  that  portion  of  the  ^^sible  world  he  has  chosen  for  his  particular 
study,  is  concerned  also  with  beauty  in  the  abstract,  and  with  the  psychologi- 
cal relation  of  what  is  finite  and  temporary  to  that  which  we  conceive  to  be 
universal  and  eternal. "     (Cafl&n.) 

"Harmony  is  the  word  which  sums  up  the  character  of  Walker's  art;  he 
interprets  in  harmonies  of  color." 

Mr.  Walker  exhibited  at  the  Roj'al  Academy,  London,  in  1901  and  of 
one  of  the  collection,  a  leading  art  journal  said:  "Mr.  Horatio  Walker 
shows  a  Millet-like  realism  which  is  yet  charged  with  poetrj'.  Charm,  the 
outcome  of  power,  and  not  of  mere  desire  to  achieve  the  pretty,  is  the  char- 
acteristic of  this  water-color.  England  should  give  welcome  to  Horatio 
Walker." 

Walter,  Martha,  (P.)  b.  Philadelphia,  Pa.  Pupil  of  the  JuHen  Academy 
and  the  Grande  Chaumiere  in  Paris,  and  received  criticism  from  Prinet, 
Simon  Menaud.  Won  Cresson  scholarship  P.  A.  F.  A.,  1908;  ^larj'  Smith 
prize  P.  A.  F.  A.,  1909.  Her  traveUng  scholarship  permitted  her  to  see 
Germany,  Holland,  Italy  and  Spain. 

^lessrs.  Baschet  and  Schommer,  her  instructors  at  the  Julien  Academy 
encouraged  her  to  trj'  for  the  salon  which  she  did  in  time  and  exhibited  her 
work.  After  her  return  from  her  travels  she  worked  in  Philadelphia  and 
New  York,  making  yearly  trip  abroad  to  Brittany,  Holland  or  Dalmatia 
and  exhibiting  her  pictures  in  many  of  the  cities  in  the  United  States,  iliss 
Walter  also  studied  under  WilUam  M.  Chase  "from  whom  she  learned  much 
in  handling  the  brush." 

"  Miss  Walter  hkes  to  catch  the  color  impression  in  assembhes  of  peasants." 

"Her  brush  work  is  broad  and  apphed  Avithout  hesitation,  avoiding  as 
far  as  possible  the  less  important  details."     (Art  &  P.  1 :303.) 

Ward,  John  Q.  A.,  (S.)  b,  near  Urbana,  Champaign  Co.,  Ohio,  1830;  d. 
New  York,  May  1,  1910.  Displayed  a  talent  for  plastic  art  at  an  early  age. 
Studied  under  H.  K.  Brown  in  Brooklyn,  N.  Y.,  remaining  his  pupil  for  si.x 
years.     In  1857  made  his  first  sketch  for  "  The  Indian  hunter  "  now  in  Central 


222 

Park,  New  York,  studying  his  subjects  in  the  aljoriginal  state.  In  1861 
opened  a  studio  in  New  York;  was  elected  associate  member  of  the  National 
Academy  of  Design  in  1862;  full  member  in  1863  and  president  in  1874. 
Was  first  president  of  National  Sculpture  Society. 

In  1866  he  executed  the  group  of  "The  good  Samaritan"  (now  in  Boston) 
in  honor  of  the  discovery  of  anaesthetics.  In  1867  presented  his  design  for 
the  Shakespeare  statue  in  Central  Park,  New  York. 

His  "Freedman"  was  an  earlj'-  work,  and  of  this  bronze  statuette, 
Jarves  says:  "We  have  seen  nothing  in  our  sculpture  more  soul-lifting 
or  more  comprehensively  eloquent." 

Tuckerman  says:  "Although  Mr.  W^ard  has  never  practiced  modeling 
in  any  academy  or  foreign  or  famed  studio,  he  has  labored  with  rare  as- 
siduity to  master  the  principles  of  his  art.  He  understands  proportion  and 
anatomical  conditions." 

In  the  field  of  portrait  statuary,  Mr.  Ward  is  one  of  the  masters  of  the  day. 
Perhaps  his  finest  achievement  in  this  field  is  the  statue  of  Henry  Ward 
Beecher  in  Borough  Hall  Park,  Brooklyn;  also  statue  of  Commodore  Perry 
at  Newport,  R.  I.  and  statue  of  Israel  Putnam  of  Hartford,  Conn.  Other 
triumphs  are  "Horace  Greeley,"  "Lafayette"  at  Burlington,  Vt.,  monument 
to  President  Garfield  and  equestrian  statue  of  General  Thomas,  Washington, 
D.  C. 

"Mr.  Ward  is  essentially  a  sculptor  His  technique  may  lack  at 

times  that  charm  of  surface  manipulation  in  which  his  younger  colleagues 
excel,  but  it  always  shows  a  quiet  simplicity,  an  impressiveness  of  mass, 
which  is  the  first  element  in  good  monumental  sculpture.  (Taft's  "History 
of  American  sculpture.") 

Warner,  Olin  L.,  (S.)  b.  West  Suffield,  Conn.,  1844;  d.  New  York,  August 
14,  1896.  The  son  of  an  itinerant  Methodist  minister,  it  was  not  until  1869 
that  he  was  able  to  sail  for  Europe.  He  went  to  Paris  and  studied  sculpture 
in  the  Ecole  des  Beaux  Arts  under  Jouffroy  and  afterwards  in  the  studio  of 
Carpeaux,  making  the  acquaintance  of  Falguiere  and  ^lercie.  He  returned 
to  New  York  in  1872  and  was  one  of  the  original  members  of  the  Society  of 
American  Artists.  Associate  member  National  Academy  of  Design,  1888; 
full  member,  1889. 

Among  his  most  important  works  are  statuettes  entitled  "May"  and 
"Twilight,"  a  colossal  medalUon  of  Edwin  Forrest,  a  bust  of  J.  Alden  Weir 
(which  excited  profound  admiration  in  the  Paris  salon)  and  the  beautiful 
fountain  in  Portland,  Oregon;  also  the  fountain  and  spandrel  figures  for  the 
entrance  of  the  Library  of  Congress,  Washington,  D.  C. 

"Mr.  Warner  was  our  most  classic  sculptor,  a  pedant  in  taste  but  quite 
modern  in  his  technique."     (Hartmann.) 


223 

His  short  career  as  an  artist  was  sufficient  to  place  him  among  the  im- 
mortal masters  of  sculpture — those  who  have  created  a  stjle  of  their  own." 
(Xat.  Cyc.  Am.  Biog.) 

"  His  portrait  of  William  Lloyd  Garrison  is  among  the  best  that  our  country 
has  produced."     (Taft.) 

Washburx,  Cadwallader,  (E.)  b.  Minneapolis,  Minn.  Pupil  of  Art 
League  N.  Y.,  under  Mowbray  and  Chase:  Joaquin  SoroUa  in  Spain.  Re- 
ceived second  prize  Paris  A.  A.  A.  An  artist  whose  paintings  were  well 
known  in  leading  art  centers  of  Europe,  it  was  in  the  year  1903  that  Mr. 
Washburn  first  employed  etching  as  a  mode  of  expression.  A  series  of 
Venetian  plates  revealed  his  harmony  \nth  the  medium,  and  admitted  him 
to  the  ranks  of  painter-etchere. 

The  direct  influence  of  SoroUa  is  far  reaching,  for  not  the  least  distinguish- 
ing quality  of  his  plates,  strikingly  illustrated  in  the  Mexican  series,  is  his 
masterly  interpretation  of  atmosphere  and  sun.     His  plates  classify  naturally: 

Italian    set — Venice,    Padua    and    Verona — serves    as    his    introduction; 

Japanese  portfolio,  etched  in  1904; 

"The  Nordlands"  a  series  of  landscapes; 

A  group  in  Havanna;  Cathedral  of  Old  Mexico. 

With  the  passing  of  the  master  Seymour-Haden,  recent  attention  has 
been  called  to  the  school  of  landscape  etching.  With  the  exception  of  a 
few  scattered  plates,  Mr.  Washburn  is  the  only  American  in  the  list  of 
the  younger  men  to  turn  a  sustained  interest  to  landscape  subjects. 

It  is  of  significance  that  he  has  revealed  powere  capable  of  worthily 
upholding  its  traditions  in  America. 

Watkins,  Susax,  (P.)  b.  California,  1875.  Pupil  Art  Students  League 
in  New  York:  Collin  in  Paris.  Received  honorable  mention  in  the  Paris 
salon  of  1899  and  third  gold  medal  in  the  salon  of  1901.  Her  painting 
entitled  "The  fan"  is  well  known  and  a  critic  refers  to  the  "quaint  yet 
alluring  figure  of  the  young  woman. " 

Waugh,  Frederick  Judd,  (P.)  b.  Bordontown,  N.  Y.,  September  13,  1861. 
A  painter  of  American  marines,  comes  from  a  family  of  artists;  his  father 
S.  B.  Waugh,  was  a  Philadelphia  portrait  painter;  his  mother,  Eliza  ^^'augh, 
was  a  miniature  painter,  and  his  sister,  Ida  Waugh,  is  also  a  portrait  painter 
and  an  illustrator  of  children's  books. 

At  eighteen  he  began  the  study  of  art  in  the  Pennsylvania  Academy  of 
the  Fine  Arts  under  Thomas  Eakins,  after  that  he  went  to  Paris  and  worked 
in  Academie  Julien  under  Bouguereau  and  Robert-Fleuiy. 

Associate  member  National  Academy  of  Design,  1909;  full  member,  1911. 

The  first  beginnings  of  his  marine  work  were  laid  while  he  lived  on  the 
Island  of  Sark,  Channel  Islands.     He  crossed  the  ocean  frequently,  thus 


L^ 


224 

familiarizing  himself  with  every  changing  aspect  of  the  water;  and  he  also 
acknowledges  the  fact  of  his  having  spent  much  time  at  miniature  portrait, 
decorative  work,  landscape  and  figure  painting,  has  given  him  strength  and 
power  in  his  marines. 

"The  surf  off  Cape  Ann"  is  a  powerful  marine;  this  is  permanently  placed 
in  the  National  Academy  of  Design,  New  York. 

Other  marines  are: 

" The  great  deep "  "A  heavy  sea" 

"Outer  surf"  "Little      harbor,      Bailey's    -Island, 

" Roaring  forties "  Maine" 

"  Incoming  tide  "  "  Docks  at  Gloucester  " 

Kenyon  Cox  says:  "Mr.  Waugh  is  an  objective  painter,  a  cool  observer, 
who  draws  his  waves  and  foam-loops  with  great  accuracy,  and  colors  them 
with  much  truth,  but  does  not  quite  succeed  in  conveying  the  illusion  of  force 
and  motion.  He  tells  us  much  about  the  sea,  but  he  has  not  Homer's  capacity 
for  abstracting  two  or  three  essential  qualities  and  expressing  them  with 
overwhelming  vigor." 

Mr.  Waugh  has  a  wonderfully  trained  "eye  memory"  and  he  produces 
his  seascapes  from  memory.  "He  declares  that  if  he  never  saw  the  sea 
again  he  could  still  go  on  painting  it  and  constantly  improving  in  his  repre- 
sentations."    (Arts  and  D.,  Jan.  1911.) 

The  real  idealized  is  the  art  of  Frederick  Judd  Waugh. 

Webster,  Herman  A.,  (P.,  E.)  b.  New  York  City,  1878.  Family  home 
is  Chicago;  occupies  a  studio  at  No.  6,  Rue  Furstemberg,  Paris.  Gradu- 
ated from  Yale  University  in  1900  and  in  October  of  that  year  went  abroad. 
After  a  winter  in  Paris  among  the  studios  and  artists  of  the  Latin  Quarter, 
he  joined  Burton  Holmes  and  Senator  Albert  J.  Beveridge  on  a  trip  to  the 
Orient.  Returning  to  the  United  States  he  engaged  in  commercial  work 
also  doing  journalism  in  the  office  of  the  Chicago  Record-Herald. 

In  February  1904  he  returned  to  Paris  and  entered  the  Academie  Julien 
under  Jean  Paul  Laurens.  In  1905  four  of  his  plates  were  accepted  at  the 
salon.  In  Grez  on  the  edge  of  the  Forest  of  Fontainbleau,  Mr.  Webster 
etched  his  first  plates  during  the  autumn  of  1904:  "Studio  windows"  of 
which  there  are  two  plates,  "Rue  del'Abbaye,"  "Loing  at  Grez,"  and  "The 
Court,  Bourron,"  the  first  of  a  series  of  Courtyard  studies. 

Spring  1905  etchings  were  "St.  Martin's  bridge,  Toledo,"  and  "Mirada 
de  las  Reinas,  Alhambra"  seen  from  the  Hall  of  the  Ambassadors. 

December  1907  Mr.  Webster's  name  was  enrolled  in  the  associate  mem- 
bership of  the  Royal  Society  of  Painter-etchers  in  London,  of  which  the 
late  Sir  Francis  Seymour-Hayden  was  president.  He  is  the  first  etcher 
from  Chicago,  and  one  with  less  than  a  dozen  other  Americans  who  have 
been  admitted  to  the  Royal  Society  since  its  foundation  in  1881. 


225 

Weeks,  Edwin  Lord,  (P.)  b.  Boston,  Mass.,  1849;  d.  Paris,  France,  Novem- 
ber 16,  1903.  As  a  youth  he  studied  art  in  Paris  at  the  Ecole  des  Beaux 
Arts  and  afterwards  under  Leon  Bonnat  and  Gerome.  At  the  age  of  twenty- 
nine  he  began  to  exhibit  at  the  salon. 

Received  honorable  mention  in  the  Paris  salon  of  1885,  and  a  medal  in 
1889;  medals  of  the  first-class  at  the  Universal  Exposition,  Paris,  1889; 
gold  medal  from  Philadelphia  Art  Club,  1891;  a  grand  diploma  of  honor 
at  BerUn,  1891;  medal  at  London,  1896;  Dresden,  1897;  Munich,  1897;  special 
medal  and  prize  at  the  Empire  of  India  Exposition,  London,  1896;  the  same 
year  was  elected  a  chevalier  of  the  Legion  of  Honor  of  France,  and  in  1898, 
an  Officer  of  the  Order  of  St.  ^tichael,  Bavaria. 

Mr.  \Yeeks  is  particularly  famous  for  his  pictures  of  life  in  Cairo,  Jerusalem, 
Damascus,  Tangier  and  India.  He  made  frequent  trips  to  Eastern  cities, 
traveling  extensively  in  India. 

''The  last  voyage"  shows  his  dramatic  and  scenic  qualities  and  his  careful 
observation  of  oriental  air  and  color. 

Other  famous  paintings  are  named: 

"Jerusalem  from  the  Bethany  "Pilgrimage  to  the  Jordan" 

road  "  "  Alhambra  windows  " 

"Scene  in  Tangier"  "A  Moorish  camel  driver" 

"Arab  story-teller"  "Departure  for  the  hunt,  India" 

"A  cup  of  coffee  in  the  desert"  "Packing  the  caravan" 

"Three  beggars  of  Cordova"  "The  porter  of  Bagdad" 

"A  rajah  of  Jodhpore"  "Steps  in  the  mosque,  Lahore" 
"  Hindoo  marriage  " 

His  pictures  are  notable  for  their  rendering  of  sunlight  effects,  fine  color 
and  artistic  truth. 

A  well-kno\\Ti  art  critic  says:  "^Ir.  Weeks  is  gifted  with  great  facility; 
his  skill  and  sureness  of  eye  and  of  hand  in  dealing  with  vast  scenes  are  re- 
markable. No  one  has  treated  with  greater  effect  and  with  such  unhesitating 
directness,  the  great  architectural  backgrounds  of  India  with  their  pluri- 
color  richness  and  splendor  of  detail." 

"  He  is  a  skilful  draughtsman  and  an  excellent  colorist."     (John  Rummell.) 

Weinman,  Adolph  Alexander,  (S.)  b.  Karlsruhe,  Germany,  December 
11,  1870;  came  to  America  in  1880.  Pupil  of  Art  Students  League  of  New 
York  under  Augustus  Saint^Gaudens  and  of  Cooper  L^nion.  He  also  studied 
with  the  late  OUn  L.  Warner  and  later  was  an  assistant  to  Charles  H.  Niehaus 
and  to  Daniel  Chester  French.  He  won  the  Mitchell  Vance  prize  for  drawing 
at  Cooper  Union  and  the  prize  in  the  modeUng  class  at  the  Art  Students 
League.  Member  National  Sculpture  Society,  Society  of  American  Artists; 
associate  member  National  Academy  of  Design  1906. 
29 


226 

His  monument  to  Major-General  Alexander  Macomb  erected  in  Detroit, 
Michigan,  in  1908  placed  him  in  the  front  rank  of  the  j^ounger  American 
sculptors.  His  portrait  statue  of  the  late  president  of  the  Pennsylvania 
Railroad  system,  Alexander  J.  Cassatt,  is  a  conspicuous  ornament  of  the  new 
Terminal  Station  in  New  York  City. 

He  has  also  executed  a  number  of  works  of  a  decorative  purpose  such 
as  panels  for  the  facade  of  the  library  of  J.  Pierpont  Morgan,  for  the  new 
Terminal  Station  of  the  Pa.  R.  R,.,  the  Madison  Square  Presbyterian  church, 
and  other  important  structures. 

His  medallic  work  includes  the  medal  of  honor  of  the  National  Institute 
of  Arts  and  Letters,  the  medal  of  honor  of  the  National  Institute  of  Architects, 
the  medal  of  award  of  the  St.  Louis  Exposition  and  the  U.  S.  medal  for  life- 
saving  on  railroads. 

Mr.  Weinman  has  recently  completed  the  magnificent  heroic  bronze  me- 
morial of  the  late  Mayor  Maybury  of  Detroit.     Has  also  executed 

Maryland  Union  Soldiers  and  Sailors  monument,  Baltimore; 

Lincoln  memorial  erected  at  Hodgenville,  Ky.,  (Lincoln's  birthplace) 

Lincoln  memorial  at  Madison,  Wisconsin. 

Weir,  Julian  Alden,  (P.,  Mural  P.)  b.  West  Point,  N.  Y.,  August  30,  1852. 
Studied  art  under  his  father,  Robert  Weir,  who  was  instructor  in  dra\^ing  at 
West  Point  Military  Academy,  and  with  Gerome  at  the  Ecole  des  Beaux 
Arts,  Paris.  Received  honorable  mention  in  the  Paris  salon  of  1881,  also 
numerous  medals  and  honors.  Was  elected  associate  member  of  the  National 
Academj'  of  Design,  New  York,  in  1885;  full  member,  in  1886.  Member  of 
of  the  Ten  American  Painters. 

Portraits  and  genre  pictures  are  his  specialty.  An  exquisite  painter  of 
flowers  and  a  bold  original  etcher.  He  sent  from  Paris  to  the  National 
Academy  of  Design,  New  York,  in  1875  ''A  Brittany  interior,"  in  1877  "At 
the  water-trough,"  ''Brittany  peasant  girl,"  "Brittany  washerwoman,"  and 
"Study  of  an  old  peasant." 

His  heads  have  attracted  great  attention  in  Paris,  his  symbolical  canvases 
such  as  "Muse  of  music"  gave  him  a  high  rank  in  this  field  of  work.  During 
student  days  he  was  intimately  associated  with  Bastien-Lepage.  The 
"Green  bodice "  is  a  canvas  of  rare  distinction. 

In  his  later  works — "The  flower  girl"  and  "Pussy-willows"  his  innate 
reserve  and  charm  appear. 

Guy  Pene  DuBois  says:  "His  work  has  a  subtle  quaUty  and  most  of  it 
idyllic  peace  or  optimism." 

"Upland  pasture"  is  a  characteristic  picture  and  his  "Early  morning" 
is  strongly  suggestive  of  Corot. 


227 

Other  well-kno\\Ti  paintings  are: 

"A  bough  of  green  apples"  "The  young  student" 

"  China  bowl  with  flowers  "  "  The  open  book  " 

"  The  lane  "  "  Lengthening  shadows  " 

"A  winter  day"  "The  plowman" 

"  Breton  interior  "  "  Young  girl " 

" The  good  Samaritan "  "The  miniature" 

"Ideal  head"  "Oriana" 

"Return  of  the  fishing  party"  "Dorothy  and  Cora" 

"  A  gentlewoman  "  "  Ploughing  for  buckwheat " 

"  Silver  flagon  and  Delft  plat«  " 

and  many  portraits. 

Kenyon  Cox  writes:  "The  paramount  quahty  of  his  "Green  bodice" 
is  the  perfection  of  tone  and  a  delicate  observation  of  the  gradations  of  light 
which  would  make  it  hold  its  own  in  any  company." 

At  a  recent  Carnegie  Institute  exhibition,  thirty-seven  paintings  of  this 
artist  were  a  special  feature,  and  of  this  collection  a  critic  writes:  "Both 
landscape  and  figure  paintings  are  shown  and  to  an  extent  they  epitomize 
the  spirit  of  American  painting."     (Arts  and  D.,  June,  1911.) 

"Always  full  of  space  and  light,  his  paintings  are  distinguished  for  a  broad 
handling,  truthful  and  luminous  color  and  harmony  of  tone." 

Welch,  Mabel  R.,  (Min.  P.)  b.  New  Haven,  Conn.  Pupil  of  Kenyon 
Cox,  New  York;  Court ois,  Paris.  Member  Art  Students  League,  X.  Y.,  also 
American  Society  of  Miniature  Paintei*s.     A  teacher. 

Her  miniature  works  possess  much  charm  of  color,  much  judicious  placing 
of  the  subject  ^\ithin  the  frame,  and  no  inconsiderable  excellence  of  technical 
treatment. 

Aside  from  color,  the  interesting  quality  of  Miss  Welch's  miniatm"es  is  their 
breadth  of  treatment.  "Breadth  is  easy  of  achievement  given  the  artist 
to  do  it  on  a  5-foot  canvas,  but  breadth  which  has  to  compromise  with  re- 
finement on  less  than  a  5-inch  ivorj*,  is  another  matter.  (Int.  studio 
39:xcii.)  "Miss  Welch  is  one  of  the  most  promising  of  the  newer  minia- 
ture painters  and  her  work  has  attracted  much  interest." 

Her  "Study  of  a  child"  is  a  deUghtful  rendering  of  sweetness  and  in- 
nocence. 

Wexdt,  Julia  M.  Bracken  (Mrs.  William  Wendt),  (S.,  P.)  b.  Apple  River, 
111.,  June  10,  1871.     Pupil  of  Art  Institute  of  Chicago  under  Lorado  Taft. 

The  Craftman  22:495  says:  "Mrs.  Wendt  has  already  won  distinction 
through  the  merit  of  her  portrait-busts  and  bas-reUefs,  her  symbolic' statues 
and  the  naive  characterful  studies  of  animals,  but  this  ima^native  work  (a 


228 

bronze  group  representing  Art,  Science  and  History)  places  her  among  the 
foremost  sculptors  of  America." 

Wendt,  William,  (P.)  b.  Germany,  1865.  Settled  in  Chicago,  1880. 
Self-taught.  First  conspicuous  successes  were  made  as  a  result  of  a  long 
sojourn  in  California.  Has  exhibited  in  the  Paris  salon,  Royal  Academy, 
London,  and  in  leading  American  galleries. 

"  Wendt  is  a  colorist  and  he  is  a  success  whenever  he  is  reveling  with  warm 
tones  and  brilliant  effects.  He  is  original  and  his  paintings  have  a  distinct 
personal  character  and  value." 

"Scarlet  robe"  is  a  picture  full  of  air,  space  and  movement  and  is  profes- 
sionally painted.  "Old  age"  shows  a  village  street  empty  of  team  and 
person.  Its  color  scheme  suggests  the  gray  harmony  of  Cazin.  "Wilder- 
ness "  and  "  Canon  Diablo  "  are  notable  California  scenes.  "  Cornwall  coast " 
is  dramatic  in  treatment.  "Autumn  melody"  was  exhibited  in  the  New 
Salon  of  1899. 

In  his  catalogue  of  some  fifty  works  a  considerable  number  were  done 
in  California  and  show  at  his  best  his  love  for  strong  color.  (Brush  &  P. 
6:257.) 

At  the  23d  annual  exhibition  of  American  paintings  at  Chicago,  a  room 
was  set  apart  for  his  paintings.  An  art  critic  writes:  "The  best  trio  of  land- 
scapes it  is  generally  conceded  is  that  by  William  Wendt.  "The  silence  of 
night,"  which  received  honorable  mention  is  a  landscape  with  slender  birches 
in  the  foreground  beyond  which  the  darker  reaches  are  illuminated  by  a 
subdued  light.  "The  land  of  the  heart's  desire"  is  as  satisfying  in  a  decora- 
tive sense  and  in  mood  more  joyous,  the  golden  sunlight  gilding  the  open 
country.  "The  Arcadian  hills"  is  in  the  same  manner  a  strong,  independent 
painting."     (Art  &  P.  2:49.) 

"  His  work  has  the  rare  quality  of  standing  true  under  a  glaring  Ught,  and 
when  in  shadow  it  seems  to  radiate  a  light  of  its  own.  He  has  done  much  to 
raise  the  standard  of  art  in  the  west,  spending  his  energy  lavishly  in  its  ser- 
vice at  all  times." 

Mr.  Wendt  is  president  of  the  California  Art  Club  and  recently  elected  to 
the  National  Academy. 

Wentworth,  Mrs.  Cecile  de,  (P.)  b.  in  New  York  City.  Pupil  of  the 
Sacred  Heart  Convent  and  of  Cabanel  and  Detaille  in  Paris. 

Received  gold  medal  at  Tours,  Lyons  and  Turin;  honorable  mention 
Paris  salon,  1891;  bronze  medal,  Paris  Exposition,  1900;  chevalier  of  the 
Legion  of  Honor  of  France,  1901;  officer  of  Public  Instruction  of  France; 
Order  of  Holy  Sephulchre  from  Pope  Leo  XIII. 

Represented  in  the  Luxombourg  Gallery,  Paris,  and  in  the  Metropolitan 
Museum  of  Art,  New  York. 


229 

Wenzell,  Albert  Beck,  (I.)  b.  Detroit,  Mich.,  1864.  Pupil  of  Strahuber 
and  Loefftz  in  Munich,  and  Boulanger  and  Lefeb\Te  in  Paris. 

Received  silver  medal  at  Pan-American  Exposition,  Buffalo,  1901;  silver 
medal  at  St.  Louis  Exposition,  1904. 

His  work  as  an  illustrator  is  marked  by  great  originality  of  treatment. 

Whistler,  James  Abbott  McNeill  (P.,  E.,  Mural  P.)  b.  LoweU,  Mass.,  L^ 
1834;  d.  Chelsea,  England,  July  17,  1903.  Was  taken  as  a  child  to  Russia; 
after  his  father's  death  he  returned  to  America  and  entered  the  MiUtary 
Academy  at  West  Point.  Being  a  poor  student  and  failing  in  cheniistr}%  he 
was  recommended  to  be  discharged  in  1854;  after  a  short  employment  in  the 
United  States  Coast  Survey  at  Washington  he  went  to  Paris  and  entered 
the  studio  of  Charles  Gabriel  Gleyre,  where  Degas,  Bracquemond  and  Fantin- 
Latour  were  his  favorite  companions.  Two  or  three  years  later  he  left  Paris 
and  took  up  permanent  residence  in  London.  In  1860  "At  the  piano"  was 
exhibited  at  the  Royal  Academy,  London.  His  success  began  with  the 
"  White  girl "  exhibited  in  1863  in  the  Salon  des  Refuses,  Paris. 

In  1883  ^Ir.  Whistler  sent  the  portrait  of  his  mother  to  the  Paris  salon 
and  received  a  third-class  medal;  in  1889  he  received  the  cross  of  the  Legion 
of  Honor. 

He  was  a  member  of  the  Societe  Nationale  des  Artistes  Francais,  hon- 
orary member  of  the  Roj'al  Academy  of  St.  Luke,  Rome,  commander  of  the 
Order  of  the  Crown  of  Italy,  honorary  member  of  the  Royal  Academy  Bavaria, 
chevaher  of  the  Order  of  St.  Michael,  and  honorary  member  of  the  Royal 
Academy  Dresden,  but  most  unjustly  he  was  never  elected  to  the  Royal 
Academy  of  London. 

EUzabeth  Luther  Cary,  in  her  recent  work  on  Whistler  gives  a  tentative 
list  of  Whistler's  works.  She  catalogs  528  oils,  water-colors  and  pastels, 
161  lithogi-aphs  and  426  etchings  as  his  principal  works. 

He  always  called  his  pictures  ''harmonies,"  "symphonies,"  "nocturnes" 
and  "arrangements."  The  portrait  of  his  mother,  the  "Thomas  Carlyle" 
and  "Miss  Alexander"  are  usually  considered  the  height  of  his  achieve- 
ments. 

C.  H.  Caffin  most  interestingly  writes:  "None  but  a  man  of  pecuUar 
sweetness  of  mind  could  have  conceived  that  masterpiece  in  the  Luxem- 
bourg, "The  portrait  of  my  mother." 

"It  was  va\\\  the  night  that  Mr.  Whistler  set  his  seal  and  sign  manual 
upon  art,"  writes  George  Moore;  "above  all  others  he  is  surely  the  inter- 
preter of  the  night." 

C.  H.  Caffin  also  says:  "His  art  was  the  product  of  most  delicate  se- 
lection; a  hybrid  derived  from  the  intermingling  of  many  strains — Velasquez, 
Rossetti,  the  impressionists  and  Japanese — with  his  own  rarely  gifted  per- 
sonahty,  itself  a  curious  mingUng  of  aristocratic  hauteur  and  spiritual  sen- 
sibility." 


JAMF8  ABBOTT  McNEILL  WHISTLER. 


231 

William  C.  Brownell,  the  art  critic,  has  spoken  of  Whistler  as,  "perhaps 
the  most  typical  painter  and  the  most  absolute  artist  of  the  time."  His 
fame  is  now  an  international  one;  his  works  and  personality  have  been  before 
the  public  for  more  than  forty  years. 

Of  Whistler's  etchings.  Bryant,  in  "Pictures  and  their  painters,"  says: 
"But  two  men  in  the  whole  history  of  the  world — Rembrandt  and  Whist- 
ler— have  been  able  to  use  the  etching  needle  with  such  skill  that  evei*y 
object  in  the  scene  becomes  as  much  a  piece  of  portraiture  as  though  it  were 
a  portrait.     Both  of  them  produced  etchings  that  were  withoXit  flaw." 

White,  Thomas  Gilbert,  (P.)  b.  Grand  Rapids,  Michigan.  Pupil  of  Art 
Students'  League  in  New  York  Citj'  under  Twachtman;  Julian  Academy 
under  Benjamin-Constant  and  Laurens,  also  Whistler  and  MacMonnies  in 
Paris.     Specialty,  portraits. 

Whittemore,  William  John.  (Min.  P.)  b.  New  York  City,  March  26, 
1860.  Pupil  in  Xew  York  of  WiUiam  Hart,  N.  A.  D.  and  Art  Students 
League  under  Beckwith;  Lefebvre  and  Benjamin-Constant  in  Paris. 

Received  silver  medal  for  drawing  at  Paris  Exposition,  1889.  Member 
American  Society  of  Miniature  Painters;  associate  member  of  National 
Academy,  1897. 

His  first  success  was  a  water-color  landscape,  and  his  most  serious  work 
has  been  in  portraiture. 

A  critic  calls  attention  most  visibly  to  his  sympathetic  though  never 
mawkish  portrait  studies  of  children. 

"The  burgomeister "  has  much  strength  and  a  wonderful  color.  "Pan- 
dora" is  an  interesting  figure  composition.     (Critic  47:525.) 

Whittredge,  Worthingtox,  (P.)  b.  Springfield,  Ohio,  May  22,  1820;  d. 
Summit,  N.  J.,  February  25,  1910.  When  very  young  studied  landscape 
and  portrait  painting  in  Cincinnati.  In  1849  he  went  abroad  and  continued 
his  art  studies  in  London,  Paris,  Antwerp  and  in  Diisseldorf  under  Andreas 
Achenbach.  In  1859  he  exhibited  in  the  National  Academy  of  Design  his 
"Roman  campagna"  and  was  at  once  elected  an  associate  member,  and  in 
the  follo\\ing  year  was  made  an  academician.  He  was  president  of  the  aca- 
demy for  the  year  1875-6.  "He  possessed  great  faculty  and  originality  as  a 
landscape  painter." 

Among  his  most  celebrated  pictures  are  "A  brook  in  the  wood,"  "Plains 
at  the  base  of  the  Rocky  Mountains"  and  "Sunshine  in  the  forest." 

For  many  years  Mr.  Whittredge  was  active  in  art  circles  in  New  York  City. 

W^iGGiNS,  Carleton,  (P.)  b.  Turners,  N.  Y.,  March  4,  1848.  Educated  in 
public  schools  of  Brooklyn,  N.  Y.  Studied  art  with  H.  Carmiencke  of  Brook- 
lyn, drawing  at  the  National  Academy  of  Design,  New  York,  and  landscape 


232 

painting  with  Inness.  He  was  unsuccessful  from  both  an  artistic  and  com- 
mercial standpoint  with  his  landscape  work,  and  turned  his  attention  to 
cattle  painting.  He  met  with  immediate  success  and  is  now  the  most  dis- 
tinguished painter  of  cattle  and  sheep  in  the  United  States.  (Innes'  "Schools 
of  painting.")  He  was  elected  associate  member  of  the  National  Academy 
of  Design  in  1890;  full  member,  in  1906. 

The  Paris  salon  of  1891  accepted  his  "Shepherd  and  his  flock." 

"  A  Holstein  bull "  "  Three  oaks  " 

"The  wanderers"  "Morning  on  the  hills" 

"  Plough  horse  "  "  Normandy  bull " 

"  Down  the  lane  at  twilight "  "  Evening — Forest  of  Fontainebleau  " 

"  The  pasture  lot "  "  Near  Great  South  Bay  " 

*'  Ploughing  in  France  "  "  After  wind — rain  " 

"He  chooses  principally  American  motives  and  his  pictures  carry  the 
evidence  of  their  truth  to  nature.  His  technical  skill  is  great,  his  color 
warm  and  vibrant  and  his  construction  shows  he  has  a  thorough  knowledge 
of  form."     (Nat.  Cyc.  Am.  Biog.) 

"Mr.  Wiggins  is  at  his  best  when  he  paints  landscape  with  animals  rather 
than  animals  with  landscape. "     (The  artist  29:iv.) 

Wiles,  Irving  R.\msey,  (P.,  Mural  P.)  b.  Utica,  N.  Y.,  April  8,  1861. 
Was  educated  at  Sedgwick  Institute,  Great  Barrington,  Mass.  His  father,  a 
gifted  painter  of  landscapes  was  his  first  instructor  in  art ;  he  was  also  a  pupil 
of  William  M.  Chase  and  although  he  subsequently  studied  in  Paris  with 
Carolus-Duran  and  Jules  Lefebvre,  he  returned  to  America  to  work,  definitely 
to  express  himself  as  an  American  artist. 

He  has  never  been  identified  with  any  special  school  or  any  new  move- 
ment. Has  received  third  Hallgarten  prize  of  the  National  Academy  of 
Design,  New  York;  honorable  mention  in  the  Paris  salon  and  several  medals. 
Was  elected  member  of  the  National  Academy  of  Design,  New  York  in  1897. 
He  has  been  called  the  "Artist's  painter"  and  chiefly  busies  his  brush 
with  portrait  and  figure  paintings.  His  illustrations  are  well  known  to  art 
readers  of  Century,  Harper,  Scribner,  etc. 

"If  low  tones  appeal  to  h'm  with  the  greatest  strength,  however,  the  bright 
luminous  colors  come  often  into  his  canvases  with  brilliant  effect."  (Arts 
and  D.  1 :403.) 

His  work  is  characterized  by  a  charming  simplicity  of  idea  and  treat 
ment,  and  "  Memories  "  now  owned  by  Mr.  Carnegie,  is  an  admirable  example 
of  those  quahties  of  his  art."     (Nat.  Cyc.  Am.  Biog.) 


233 


Among  his  works  are: 


"  On  the  beach  "  "  Girl  w-ith  peonies  " 

"  The  student "  "  Girl  and  horse  " 

"Quiet  corner"  "Noon" 

"Sunshine  and  flowers"  "The  green  gown" 

"Sunshine  in  the  studio"  "The  window" 

"  The  southwest  wind  "  "  With  hat  and  veil " 

"A  breezy  day"  "Among  Canada  thistles" 

"  The  black  shawl "  "  Discouraged  " 

"  An    autunm    stroll "     (Portrait  "  Brown  kimono  " 

of  Gladys  Wiles)  "The  Sonata"  (prize  picture) 

Portrait  of  Juha  Marlowe  "  In  summertime  " 
Portrait  of  "  My  father  and  mother" 

His  portrait  of  Mrs.  Gilbert  is  a  masterpiece  of  portraiture. 

"The  wholesome  reaUties  of  life  are  depicted  in  ^Ir.  Wiles'  canvases — 
the  gladness  of  childhood,  the  dignity  of  age — and  the  glor}'  of  good  work." 

"He  represents  no  intricate  symbolism  in  his  work;  no  revelation  of  a 
nature  compUcated  beyond  power  to  express  its  thoughts.  He  has  found 
the  ideals  of  art  in  the  reahties  of  life.  His  daughter  has  been  the  inspiration 
of  some  of  her  father's  most  distinguished  works."     (Arts  and  D.  Aug.  1911.) 

WiLLET,  A^'iLLiAM,  (Stained  glass  designer)  b.  New  York  City,  Novem- 
ber 1,  1868.  Pupil  of  Whittaker,  Chase  and  LaFarge  in  New  York;  studied 
also  in  France  and  England.  Author  of  "Stained  glass  in  our  churches;" 
Lectured  on  appUed  arts  at  Carnegie  Techical  Schools. 

The  most  important  representative  of  the  new  school  of  stained  glass 
workers.  Beginning  his  art  career  as  a  portrait  painter,  he  turned  to  decora- 
tive work.  "It  is  this  feeUng  for  design  joined  with  a  subtle  appreciation 
of  color,  that  makes  his  work  notable." 

The  design  for  "The  spirit  of  the  water  lily"  a  memorial  window  in  the 
home  of  Mr.  George  I.  Whitney  of  Pittsburgh,  shows  exquisite  draughts- 
manship and  mastery  of  symbolism. 

In  the  "Marriage  of  Isaac  and  Rebecca"  the  artist  has  more  scope  for 
color.  The  finest  work  is  undoubtedly  the  window  recently  executed  in 
the  Third  Presbjiierian  Church  at  Pittsburgh,  depicting  the  parable  of  the 
"The  wise  and  the  fooUsh  Airgins."  "It  bears  brilUant  witness  to  the 
vitaUty  and  promise  of  American  art." 

WiLLi.\MS,  Frederick  B.\.llard,  (P.)  b.  Brooklyn,  N.  Y.,  October  21. 
1872.  When  a  Uttle  more  than  a  lad  he  studied  at  night  at  the  Cooper  Union 
in  New  York  City.  Then  for  a  while  attended  a  school  conducted  by  John 
Ward  Stimson,  an  ideaUst.  Later  studied  at  the  National  Academy  of  De- 
sign and  spent  a  short  time  traveling  in  England  and  France. 


234 

"Mr.  Williams'  landscapes  are  not  painted  out  of  doors  ....  He  transcribes 

what  he  feels  rather  than  what  he  sees The  scenes  are  imaginative, 

gay  and  fanciful.  Their,  charm  lies  in  their  joyous  spontaneity,  their  rhythm 
of  line  and  color. " 

"  The  women  he  paints  are  intensely  feminine  but  are  pictured  impersonally, 
their  object  being,  as  it  were  to  decorate  the  earth." 

"His  pictures  are  atmospheric,  without  resort  having  been  made  to  mists 
and  vapors  and  they  are  peculiarly  spacious  in  suggestion." 

"Form  and  color  are  paramount  and  light  and  shade  take  their  places  as 
in  a  purely  decorative  scheme." 

A  few  paintings  are: 

"A  glade  by  the  sea"  •  "Chant  d' amour" 

"The  confidantes"  "The  inner  harbor.  Block  Island" 

"  On  the  cliffs  "  "  Garrets  Mountain,  N.  J." 

(Int.  studio  42:sup.  53.) 

Woodbury,  Charles  Herbert,  (P.)  b.  Lynn,  Mass.,  July  14,  1864.  Pupil 
of  Mass.  Institute  of  Technology  in  Boston,  Julien  Academy  in  Paris  under 
Bouguereau  and  Lefebvre.     N.  A.  1907.     Specialty,  marines. 

"Few  painters  have  painted  the  ocean  with  a  more  familiar  knowledge 
of  its  aspects,  a  closer  sympathy  with  its  various  moods  or  in  a  larger  imagina- 
tive style."     (Art  &  P.  4:762.) 

His  best  marines  are: 

"The  breaker"  "A  heavy  sea" 

"  A  quiet  sea  "  "  Ground  swell " 

"The  open  sea"  "The  steamer" 

"Mid  ocean"  "Maine  coast" 
"On  a  lee  shore" 

WooDWELL,  Joseph  R.,  (P.)  b.  Pittsburgh,  Pa.,  1843;  d.  Pittsburgh,  Pa., 
May  30,  1911.  Mr.  Woodwell  was  chairman  of  the  Fine  Arts  Committee  of 
the  Carnegie  Institute  and  one  of  the  best  known  of  the  Pittsburgh  artists. 
He  studied  for  four  years  at  Barbizon  and  was  the  friend  of  both  Millet 
and  Jacques.  In  Paris  he  was  associated  with  Monet,  Sisley,  Renoir  and 
Pissaro. 

Wright,  M.  Louise  Wood,  (Min.  P.,  I.)  b.  Philadelphia,  Pa.,  1875.  Pupil 
Pennsylvania  Academy  of  the  Fine  Arts,  Whistler  and  Acad^mie  Julien, 
Paris;  F.  W.  Jackson,  England. 

Received  Toppan  prize  Pennsylvania  Academy  of  the  Fine  Arts.  A 
teacher. 


235 

F  Wyaxt,  Alexander  Helwig,  (P.)  b.  Port  Washington,  O.,  January  11, 
1836;  d.  Xew  York,  November  29,  1892.  First  occupation  was  that  of  a 
sign  painter  in  his  native  Aollage.  At  the  age  of  twenty-two  he  consulted 
Inness  on  art  matters;  later  went  to  Diisseldorf  and  studied  imder  Hans 
Gude,  subsequently  in  London  he  studied  the  works  of  Turner  and  Con- 
stable. Settled  in  Xew  York  after  1864.  Losing  the  use  of  his  right  hand 
from  paralysis,  he  learned  to  paint  with  the  left  with  no  diminution  of  skill. 

The  work  done  with  the  left  hand  is  considered  by  some  critics  to  be  superior 
to  that  done  pre\'iously.  Long  before  his  death  he  yvas  ranked  with  Inness 
as  a  landscape  painter.  In  a  certain  dehcate  refinement  none  of  our  artists 
have  equalled  him. 

His  first  picture  exhibited  in  Xew  York  "A  view  of  the  valley  of  the  Ohio 
river"  was  at  the  Xational  Academy  of  Design  in  1865.  He  was  elected 
associate  member  of  the  academy  in  1868  and  full  member  in  1869. 

"Many  of  his  landscapes  are  truly  idyUic  in  character  and  full  of  tender 
and  poetic  sentiment.  Others  are  beautiful  interpretations  of  the  more 
dramatic  moods  of  nature  or  representatives  of  the  wild  and  rugged  scenery 
of  the  Adirondacks."     ("  Aims  and  ideals  of  representative  American  artists.") 

Of  the  exquisitely  poetic  feeling  with  which  he  loved  to  invest  his  scenes, 
"  Early  morning ''  is  a  glorious  example.     (CaflBn.) 

There  is  a  combined  reahsm  and  impressionism  in  Wyant's  work.  "Early 
spring"  is  a  characteristic  landscape. 

"WVant  alwaj's  looked  for  and  grasped  the  specific  essential  truth  of  a 
scene  ....  Some  of  his  twilight  scenes  breathe  only  ineffable  peace,  others 
are  astir  with  suggestions  of  the  infinite  mystery  of  the  final  sleep."  (Heanor 
Richardson  Gage.) 

'*  He  loved  the  gray  skj'  and  somber  tints  of  November,  the  subtle  mysterj- 
of  twihght  and  the  fading  glorj'  of  the  sunset."     (Arts  &  D.  2:349.) 

Mam'  critics  have  rated  "Passing  clouds"  as  Wyant's  most  dramatic 
composition  "which  in  its  way  he  never  surpassed." 

Of  his  "Moonhght  and  frost"  (painted  at  a  single  sitting)  it  is  said:  "It 
is  bathed  in  the  mystic  sheen  of  the  moonhght  which  has  impressed  itself 
on  the  soul  of  the  painter  and  is  instinct  with  the  very  spirit  of  frost,  chilled 
to  intensity  in  the  picture,  as  it  must  have  been  in  the  artist. 

A  few  of  his  pictures  in  oil  are: 

"Statin  Island  from  the  Jersey  "The  old  road — Evening" 

meadows  "  "  Hoosatonic  valley  " 

"  The  bird's  nest "  "  Early  twihght " 

"Scene  on  the  Upper  Susque-  "A  ghmpse  of  the  sea" 

hanna"  "View      in      County      Kerry,      Ire- 

"  A  view  on  Lake  George  "  land  " 

"  Broad  silent  valley  "  "  Spring  " 

"The  wilds  of  the  Adirondacks" 


236 

"Gray  days  had  more  allurement  than  sunny  ones  and  his  works  are 
found  to  have  a  lyric  quality  which  in  a  measure  Inness'  lacks." 

Yandell,  Enid,  (S.)  b.  Louisville,  Ky.,  October  6,  1870.  Pupil  Cincinnati 
Art  School,  Philip  Martiny  in  New  York;  MacMonnies  and  Rodin  in  Paris, 
Is  officier  de  I'academie,  French  government;  a  member  of  the  National 
Sculpture  Society. 

At  Chicago  in  1893  Miss  Yandell  was  represented  by  the  caryatides  of  the 
Woman's  building  and  a  figure  of  Daniel  Boone.  At  Nashville  she  was 
awarded  the  contract  for  a  colossal  "Athena"  which  stood  in  front  of  the 
Art  Palace. 

"Miss  Yandell  has  made  many  small  figures  with  admirable  skill,  and 
abounds  in  happy  inventions."     (Taft.) 

YoHN,  Frederick  Coffay,  (I.)  b.  Indianapolis,  Ind.,  February  8,  1875; 
made  his  debut  when  he  was  nineteen,  in  the  pages  of  Harper  periodicals. 
From  his  home  in  Indiana  he  went  to  New  York  to  study  at  the  Art  Students 
League  where  he  was  a  pupil  of  Mr.  Siddons  Mowbray. 

Was  selected  to  supply  the  drawings  that  accompanied  the  frontier  sketches 
of  Theodore  Roosevelt.  This  recognition  was  followed  by  a  commission  to 
illustrate  Mr.  Cabot  Lodge's  "Story  of  the  American  Revolution." 

He  makes  the  story-telling  quality  of  a  picture  easily  felt  in  his  com- 
position, and  projecting  his  motive  with  admirable  appeal. 

"Mr.  Yohn's  ultimate  purpose  is  to  paint  battlepieces,  but  in  illustrating 
he  prefers  to  do  character  work — ^it  is  the  soldier  type  that  has  so  far  iden- 
tified him." 

"His  military  compositions  have  suggested  him  as  a  successor  to  De 
Neuville." 

Invests  his  versatile  compositions  with  stirring  vigor  and  dramatic  interest. 

Noted  for  his  spirited  battle  scenes.     (Brush  &  P.  2:161.) 

Young,  Mahonri,  (S.)  b.  Salt  Lake  City,  Utah,  1877,  and  is  a  grandson 
of  the  famous  Mormon  leader,  Brigham  Young.  Studied  in  Julien  Academy, 
Paris. 

"His  best  work  is  distinguished  by  nobility  and  breadth  of  conception, 
close  and  conscientious  observation  of  nature,  a  predilection  for  virile  form 
and  plastic  line  of  great  beauty  and  power.  His  bronze  figure  of  an  Alsatian 
boatman,  Bovet  Arthur,  received  honorable  mention  at  Buenos  Ayres,  and 
was  awarded  the  Helen  Foster  Barnett  prize  at  the  National  Academy  ex- 
hibition of  December,  1911.  Has  recently  been  elected  associate  member 
of  the  National  Academy  of  Design. 


BIBLIOGRAPHY 


BIBLIOGRAPHY. 


GENERAL. 


Appleton's  C3''clopaedia  of  American  Biogi'aphy,  N.  Y.  1888. 

Bryan's  ''Dictionary  of  painters  and  engravers.'' 

Champlin  and  Perkins  "Cyclopedia  of  painters  and  painting."     Charles  C. 

Perkins,  critical  editor,  N.  Y.  1887. 
Dictionar}'  of  National  Biography,  edited  by  Stephen  &  Lee,  London  and  X.  Y. 

1885-1900. 
Lamb's  Biographical  Dictionary  of  United  States,  Boston,  1900. 
Levy,  Florence,  "American  Art  Annual,"  vols.  1-10,  New  York. 
The  National  Cyclopedia  of  American  Biography,  N.  Y.  1898. 
The  New  International  Encyclopedia,  N.  Y.  1892-1904.     Pub.  A.  N.  Marquis 

&  Co.  Chicago. 
"Who's  who  in  America."     Vols.  1-7. 

SPECIAL. 

Addison,   Julia  de  Wolf,   "The  Boston  Museum  of  Fine  Arts."     Boston, 

1910. 
"American  artists,"  by  leading  American  writers.     Boston. 
Benjamin,  S.  G.  W.     "Our  American  artists."     1st  and  2nd  series.     Boston, 

1881. 
Brinton,    Christian    "Modern   artists"    N.    Y.     1908.     (Melchers,    Sargent, 

Shannon,  Whistler.) 
Bryant,  Lorinda  M.     "Pictures  and  their  painters."     N.  Y.  1907. 
Caffin,  C.  H.     "American  masters  of  painting."     N.  Y.  1902. 
Caffin,  C.  H.     "American  mastere  of  sculpture."     N.  Y.  1903. 
Cary,  Ehzabeth  Luther  "Artists  past  and  present."     N.  Y.  1909. 
Child,  Theodore  "Art  and  criticism."     N.  Y.  1892. 
Clements,  "Women  in  the  fine  arts."     Boston,  1904. 

Clements  and  Hutton,  "Artists  of  the  nineteenth  century."     Boston,  1880. 
Cook,  Clarence  "Art  and  artists  of  our  times."     Vol.  3.  (Weir). 
Cortissoz,  Royal  "John  LaFarge."     Boston  and  N.  Y,,  1911. 
Cox,  Kenyon  "Old  masters  and  new."     N.  Y.  1905. 
Downes,  William  Howe  "Twelve  great  artists."     Boston,  1900. 
Do\%Ties,  WiUiam  Howe  "Life  and  works  of  Winslow  Homer."     Boston  and 

N.  Y.,  1911. 


240 

Eaton,  D.  Cady  "A  handbook  of  modern  French  painting."     N.  Y.,  1909. 

"Famous  etchers."     Boston. 

French,  H.  W.     "Art  and  artists  of  Connecticut."     Boston,  1879. 

Hartmann,  Sadakichi  "A  history  of  American  art."     Boston,  1902. 

Hawthorne,  Nathaniel  "The  French  and  ItaUan  note-books."     N.  Y.,  1899. 

Hind,  C.  Lewis  "Augustus  Saint-Gaudens."     N.  Y.,  1908. 

Hoeber,  Arthur  "The  treasures  of  the  MetropoUtan  Museum  of  Art."   N.  Y., 

1899. 
Innes,  Mary  and  DeKay,  Charles  "Schools  of  painting."     N.  Y.  and  London, 

1911. 
Isham,  Samuel  "The  history  of  American  painting."     N.  Y.,  1905. 
Jarves,  James  Jackson  "The  art  idea."     Boston  and  N.  Y. 
King,  Pauline  "American  mural  painting."     Boston,  1902. 
Knowlton,  Helen  M.     "The  art  and  life  of  William  Morris  Hunt."     Boston, 

1900. 
Koehler,  S.  R.     "Etching."     N.  Y.,  London,  Paris,  Melbourne,  1885. 
Leonard,  John  "Men  of  America."     N.  Y.,  1908. 

McSpadden,  J.  Walker  "Famous  painters  of  America."     N.  Y.,  1907.     (Ab- 
bey, Chase,  Copley,  Homer,  Inness,  LaFarge,  Sargent,  Stuart,  Vedder, 

Whistler.) 
Mauclair,  Camille  "The  French  impressionists."     London.     (Mary  Cassatt.) 
Maynell,  Wilfred  "The  modern  school  of  art,"  vol.  4.     (Vedder.) 
Meynell,  Mrs.  "Works  of  John  Singer  Sargent." 
Moore,  George  "Modern  painting."     N.  Y.,  1898.     (Mark  Fisher.) 
Miither,  Richard  "History  of  modern  painting."     N.  Y.,  1896. 
Noble,  Louis  L.     "  Life  and  works  of  Thomas  Cole."     N.  Y. ,  1853. 
Preyer,  David  C.     "The  art  of  the  Metropolitan  Museum  of  New  York." 

Boston,  1909. 
Radcliffe,  A.  G.     "Schools  and  masters  of  sculpture."     N.  Y.,  1894. 
Rathbun,  Richard  "  The  National  Gallery  of  Art,     (Washington,  D.  C.) 

Washington,  1909. 
Rummell,  John  "Aims  and  ideals  of  representative  American  painters." 

Buffalo,  1901. 
Sheldon,  George  W.     "American  painters."     London,  1879. 
Spencer,  Edwina  "Story  of  American  painting."     Chautauquan,  vols.  48, 

49,  50. 
Taft,  Lorado  "The  history  of  American  sculpture."     N.  Y.,  1903. 
Tuckerman,  Henry  T.     "Book  of  the  artists."     N.  Y.  and  London,  1870. 
Viardot,  Louis  "Wonders  of  sculpture."     N.  Y.,  1873. 
Wharton,    Anna   Hollingsworth    "Heirlooms   in    miniatures."     Phila.    and 

London,  1898.     (Edward  Greene  Malbone.) 


241 


PERIODICAL  REFERENCES. 


Abbey,  Edwin  Austin 

Aft  &  P.  2:347 

The  artist  29:169 

Arts  &D.  1:444 

Craftsman  21:11 

Harper  M.  100.875;  105:525 

Int.  studio  44  :sup.  Iv;  15:sup.  Ivi;  17:sup. 
Ixxix 

Nation  86:384 

R.  of  Rs.  Sept.,  1911,  p.  300 

Scrib.  M.  44:656 

W.  Work  16:10191 
Alexander,  John  White 

Arts  &D.  1:147 

Craftsman  10:46 

Critic  46:239 

Harp.  M.  99:694;  114:845 

Int.  studio  34Jxxxv 

Munsey  39:744 

Outl.  95:171 

Scrib.  M.  25:340;  45:45 

W.  Work  9:5682,  5993 
Anschutz,  Thomas  Pollock 

Brush  &  P.  4:277 
Barnard,  George  Grey 

Cent.  31:877 

Craftsman  15:270;  16:437 

Int.  studio  36 :  sup.  xxxix 

R.  of  Rs.  19:49;  38,689 

W.  Today  16:273 

W.  Work  5:2837;  17:11256 
Beaux,  Cecilia 

Brush  &  P.  6:81 

Critic  47:39 

Int.  studio  41:337 
Beckwith,  J.  Carroll 

The  artist  26axvii 

Scrib.  M.  47:449 
Benson,  Frank  Weston 

Art  &  P.  Nov.,  1912 

Arts&  D.  1:195 

Brush  &  P.  6:145 

Harp.  M.  119:105 

Int.  studio  27-lxxxiv;  35:xcix 


Bitter,  Carl  Theodore 

Brush  &  P.  13:466 
Blakelock,  Ralph  Albert 

The  artist  29:xviii 

Brush  &  P.  9:257 

Int.  studio  27:bj: 

Scrib.  M.  34:640 
Blashfield,  Edwin  Howland 

The  artist  27  .sup.  viii 

Critic  47:233 

Ind.  53:1795 

Int.  studio  24:sup.  Ixxxvii;  35:sup.  box; 
43:sup.  liii 

Outl.  67:286 

R.  of  Rs.  22:191 

Scrib.  M.  44:125 
Blum,  Robert  E. 

Int.  studio  21:sup.  cLxxvii 

The  lamp  26:473 
Bogert,  George  H, 

The  artist  24:lxi 

Brush  &  P.  4:125 

Int.  studio  21:sup.  ccix 
Borglum,  John  Gutzon 

Craftsman  14:27 

The  lamp  24:624 

Int.  studio  28:35 
Borgltun,  Solon  Hannibal 

Craftsman  12:382 

W.  Work  3:1857 
Bouguereau,  Elizabeth  Gardner 

Cur.  lit.  39:391 
Breuer,  Henry  Joseph 

Int.  studio  39:sup.  xlix 
Bridgman,  Frederic  Arthur 

The  artist  29:138 
Browne,  George  Elmer 

Brush  &  P.  14:107 

Int.  studio  36:286 
Brush,  George  DeForest 

Brush*  P.  5:266;  6:205 

Int.  studio  34:sup.  xlvii;  39:187 
Cadwalader-Ouild,  Emma  Marie 

Cur.  Ut.  40:42 


31 


242 


Int.  studio  27  :xliv 
Carlsen,  Emil 

Int.  studio  27:sup.  xliii;  39:10 
Cassatt,  Mary 
Cent.  35:740 
Cur.  lit.  46:167 
Delin.  74:121 

Int.  studio  27:sup.  1;  35:sup.  xxxi 
Scrib.  M.  46:734 
Chase,  William  Merritt 
Craftsman  18:33 
Critic  48:575 
Int.  studio  39:sup.  xxix 
Studio  (Lond.)  12:151 
Cooper,  Colon  Campbell 

Brush  &  P.  18:72 

Couse,  Eanger  Irving 

The  artist  27:xii 

Craftsman  18:619 

Cox,  Kenyon 

Int.  studio  32.3 
Dabo,  Leon  and  T.  Scott 
Brush  &  P.  17:3 
Craftsman  13:261 
Cur.  lit.  41 :524 
Int.  studio  27:173;  39:sup.  Iv 
R.  of  Rs.  41:219 
W.  Today  12.76 
Dannat,  William  T. 
Craftsman  6:154 
Davis,  Charles  Harold 

Brush  &  P.  4 :40,  122 
Dearth,  Henry  Golden 

Cent.  48:157 
Decamp,  Joseph  R. 
Arts  &  D.  1 :248 
New  Eng.  M.  39:239 
Deming,  Edward  Willard 
Craftsman  10:150;  21:456 
Int.  studio  27:xv 
Dessar,  Louis  Paul 
The  artist  24:lix 
Brush  &  P.  5:97 
Int.  studio  27:l.<vi 
Dougherty,  Paul 

Int.  studio  30:180;  36:sup.  3 
Duveneck,  Frank 

Arts  &  I).  1 :382 
Elliott,  John 
Arts  &  U.  2:359 
Everyboily  23:95 
Enneking,  John 
Brush  &  \\  10:335 
W.  Today  16:517 


Ezekiel,  Moses  Jacob 

W.  Work  19:12255 
Fisher,  Harrison 

Bkmn.  11:40 

Cosmopol.  49:135 
Fournier,  Alexis  Jean 

Arts&  D.  1:18 

Brush  &  P.  4:243;  11:140 
French,  Daniel  Chester 

Atlan.  75:223 

Brush  &  P.  5:145;  8:43 

New  Eng.  M.  16:259 

Cent.  37:871 
Frieseke,  Frederick  Carl 

Art  &  P.  3:747 

Harp.  M.  118:291 

Int.  studio  43:273 
Fuller,  George 

Brush  &  P.  6:209 

Harp.  M.  69:517 

Int.  studio  35:sup.  xcii 
Fuller,  Lucia  Fairchild 

Brush  &  P.  6:26 

Cent.  60:820 

Critic  47:524 
Gifford,  Robert  Swain 

Brush  &  P.  15:201 
Glackens,  WilUam  J. 

Bkmn.  11:244 

Int.  studio  40:suD.  Ixviii 
Groll,  Albert  I. 

Brush  &  P.  18:43 

Craftsman  9:826 

Int.  studio  27:lxvi;  28:sup.  78;  29:270 
Guerin,  Jules 

The  lamp  39:293 
Gutherz,  Carl 

Inter,  studio  24:sup.  Ixx.xi 
Harrison,  Birge 

Art  &  P.  3:379 

Craftsman  13:397 

Scrib.  42:576;  43:283 

Studio  13:149 
Harrison,  T.  Alexander 

Brush*  P.  4:133 

Studio  13:248 
Hassam,  Childe 

The  artist  27:xxviii 

Brush  &  P.  8:141 

Int.  studio  29:267 
Henri,  Robert 

ArtsA  D.  2:213 

Critic  49:130 

Ind.  64(pt.  2):1427 


243 


Int.  studio  30:182 
Higgins,  Eugene 

Craftsman  12:135 
Hills,  Laiua  Coombs 

Brush  &  P.  4:227 

Critic  47:533 

Int.  studio  41:xhi 
Hitchcock,  George 

Cent.  48.318 

Hearst  M.  22.131 

Int.  studio  26:sup.  1 
Homer,  Winslow 

Brush  &  P.  6:202;  10:40;  11:271 

Critic  43:548;  46:323 

Cur.  lit.  45:54 

Int.  studio  34:sup.  exxv 

Outl.  96:338 

R.  of  Rs.  38:102 

W.  Work  21:14009 
Hornby,  Lester  G. 

Int.  studio  27:122 
Hunt,  William  Morris 

Int.  studio  35  .sup.  xdv 
Hutt,  Henry 

Bkbuy.  22:22 

Bkmn.  11:140 

Brush  &  P.  2:15 
Hyatt,  Anna  V- 

Art  &  P.  4:773 

Arts&D.  2:296 
Hyde,  Helen 

Brush  &  P.  11:241 

Int.  studio  24:239;  45:51 
Innes,  George 

Cent.  27:530 

Critic  26:17 

Forum  18.301 

Masters  in  art  9:215,  bibliog. 

Mo.  lUus.  3:258 

Outl.  73:535 
Pub.  Opin.  18:207 
Keith,  William 
Craftsman  20:528 
Int.  studio  33:36 
Kemeys,  Edward 
Cent.  6:214 
Int.  studio  26:sup.  10 
McOure  5:120 
Kendall,  William  Sergeant 
ArtsA  D.  1:15,  40 
Cent.  50:478 
Harp.  M.  117:568 


LaFarge,  John 

Craftsman  8:312;9:369 
Int.  studio  4:335,  466;  38;  sup.  83,  103 
Outl.  84:479;  90:518 
Scrib.  26:3;  37:604,  638 
W.  Work  21:14085 
Lamb,  Charles  Rollinson 
Lamb,  Ella  Condie 
Lamb,  Frederick  Stymatz 
Craftsman  13:420 
Outl.  70:571 
Lie,  Jonas 

Craftsman  13:135;  21:455 
Cur.  lit.  52:222 
Loeb,  Louis 

The  artist  24:xiii 
C«nt.  79:74 
Harp.  W.  53:33 
Int.  studio  27:lxxxvii 
Outl.  92:871 
Longman,  Evelyn  Beatrice 

W.  Today  14:526 
Luks,  George  B. 

Craftsman  12:599 
MacEwen,  Walter 

Brush  &  P.  11:301;  19:21 
MacMonnies,  Frederick  W. 
Brush  &  P.  10:1 
Mimsey  34:415 
Scrib.  18:617 
Studio  (Lond.)  6:17 
Int.  studio  29:319 
W.  Work  11:6965 
Martin,  Homer  Dodge 

Int.  studio  35:255 
Melchers,  J.  Gari 
Brush  &  P.  5:267 
Harp.  M.  114:430 
Int.  studio  31;  sup.  11;  48-Jcsr\'ii 
Magazine  of  art  24 :262 
W.  Work  15:10092 
Metcalf,  Willard  Leroy 
Cent.  77:155 
Int.  studio  39:8 
New  Eng.  M.  39:374 
Quar.  lUus.  3:93 
Millet,  Francis  Davis 
Art&  P.  3:6;i5 
The  artist  26:lxiv 
Craftsman  15:426 
Int.  studio  32;sup.  cxi;  483xxiv 
Nation  94:410 
Scrib.  M.  51:253 
W.  Work  19:12378 


244 


Moran,  Mary  Nimmo 

Brush  &  P.  8:3 

Smb.  M.  46:731 
Murphy,  John  Francis 

Brush  &  P.  10:205 
Nourse,  Elizabeth 

Art  &  P.  2:262 

Cent.  37:481 

Cur.  lit.  48:90 

Int.  studio  27:247 
Oakley,  Violet 

Arch.  rec.  22:455 

Cent.  70:265;  81.734 

Critic  36:521 

Good  H.  54:470 

Scrib.  M.  41:637 
Ochtman,  Leonard 

The  artist  24:lix;  27 .v,  xi 

Brush  &  P.  4:125;  9:65 
Osthaus,  Edmund  Henry 

Brush  &  P.  18:81 
Pape,  Eric 

New  Eng.  M.  39:455 
Parrish,  Maxfield 

Critic  46:512 

Ind.  59:1398 

Int.  studio  29:35 

Outl.  79:829 
Pennell,  Joseph 

Art  &  P.  4:766 

Bkmn.  36:158 

Brush  &  P.  12:81 

Canad.  M.  38:333 

Cent.  84:567 

Craftsman  20:113 

Int.  studio  30:312;  38:22;  40:20(1 

Outl.  81:172;  96:912 
Picknell,  William  L. 

Cent.  n.  s.  40:710 
Pratt,  Bela  L. 

Art  &  P.  2:297 

Cent.  73:722 

Int.  studio  38:sup.  3 

New  Eng.  M.  n.  s.  39:632 
Pyle,  Howard 

Craftsman  15:502 

Int.  studio  45  .sup.  Ixxi 

Nation  Nov.  16,1911 

Outl.  85:453 
Ranger,  Henry  W. 

Brush  &  P.  16:39 

Cent.  70:636 

Int.  studio  29:8up.  xxxiii 


Redfield,  Edward  W. 

Arena  36:20 

Country  life  13:194 

Int.  studio  41:sup.  xxix;  27:sup.  xxxviii 
Reid,  Robert 

The  artist  24  :lxiv ;  27  :ix 

Arts  &  D.  Nov.  1911 

Craftsman  7:699 

Int.  studio  36:suD.  cxiii 
Remington,  Frederic 

Craftsman  15:658 

Cur.  lit.  33:653;  43:521 

Nation  89.662 

Scrib.  M.  32:408 
Robinson,  Theodore 

Brush  &  P.  4:285 

Scrib.  19:784 
Rolshoven,  Julius 

The  artist  26:185 

Int.  studio  27:ciii 
Saint-Gaudens,  Augustus 

Arena  38:385 

Brush  &  P.  12:262 

Cent.  74:968 

Chaut.  38:460 

Craftsman  9:369 

Cur.  Ht.  43:279 

Int.  studio  33:cxxiii 

Nation  85:115 

No.  Am.  R.  177:725 

R.  of  Rs.  36:290 

Outl.  84:199 

W.  Work  7:4403;  14:9285 
Sargent,  John  Singer  . 

Arch.  rec.  15:422 

Cent.  30  n.  s.:168 

Critic  47:326 

Harp.  M.  75:683 

Ind.  51:1140 

Munsey  36:265 

R.  of  Rs.  36:692 

Scrib.  M.  34:515 

Studio  (Lond).  19:3,  107 
Scudder,  Janet 

Int.  studio  39:lxxxi 
Shannon,  J.  J. 

Harp.  M.  111:204 

Munsey  14:129 

Studio  (Lond.)  8:67 
Simmons,  Edward  E. 

Brush  &  P.  6:241 

Ind.  53:1795 


245 


Sterner,  Albert  E. 

Brush  &  P.  5:193 

Int.  studio  35  :liv 
Stephens,  Alice  Barber 

Brush  &  P.  6:241 
Taft,  Lorado 

Craftsman  14:12 

Cur.  lit.  44:515 

W.  Today  14:191 
Tanner,  Henry  O. 

The  artist  26  :lxv:27:v 

Brush  &  P.  6:97 

Cosmopol.  29:18 

Cur.  lit.  45:404 

Ind.  65:1600 

Int.  studio  46:288 

Outl.  64:793 

W.  Work  18:11661,  11769 
Tarbell,  Edmund  C. 

The  artist  27  :lxxv 

Burlington  M.  14:254 

Critic  48:136 

Int.  studio  32.1XXV 

W.  Today  11:1077 
Thayer,  Abbott  Henderson 

Brush  &  P.  6:207 

Critic  46:423 

Int.  studio  33:sup.  Ixxxi;  39:187 

Studio  Int.  6:247 
Tiffany,  Louis  C. 

The  artist  24:iv 
Twachtman,  John  Henry 

The  artist  27:xxviii 

Ind.  58:147 

No.  Am.  R.  176:554 
Van  Ingen,  William  B. 

Arch.  rec.  13:322 
Vedder,  Elihu 

The  artist  27  :xv 

Bkmn.  32:321 

Int.  studio  35:sup.  xeiv 

Outl.  96:693 
Volk,  Douglas 

Cent.  68:654 
Vonnoh,  Bessie  Potter 

Brush  &  P.  2:29 

Scrib  M.  19:126 
Vonnoh,  Robert  W. 

The  artist  29:xii 

Int.  studio  27  .sup.  Ixxxvi 


Walker,  Henry  O. 

Int.  studio  27dxxxvi 
Walker,  Horatio 
Arts  &  D.  1 :63 
Brush  &  P.  6:82 
Canad.  M.  18:495 
Craftsman  14:238 
Harp.  M.  117:947 
Ward,  John  Q,  A. 
Harp.  M.  57:62 
Int.  studio  40:lxxxi 
Scrib.  M.  32:385  . 
Warner,  Olin  L. 

Cent.  15:392:  24.436 
Scrib.  M.  20:429 
Waugh,  Frederick  J. 

Arts&D.  1:111 
Webster,  Herman  A. 

Int.  studio  40:sup.  6;  45:208 
Weinman,  Adolph  Alexander 
Cent.  81 :705 
Int.  studio  39:sup.  44 
Weir,  J.  Alden 

Burlington  M.  15:131 
Cent.  57:956 
Cosmopol.  32:596 
Harp.  M.  114:286 
Whistler,  James  A.  McNeill 
Brush  &  P.  12:334 
Int.  studio  21:3,  208;  25:224 
Masters  in  art  8:503,  bibliog. 
W.  Work  6:3923 
Wiles,  Irving  Ramsey 
Arts  &  D.  1 :402 
Bkbuy.  11:387 
Cent.  54:799 
Craftsman  14:602;  18347 
Harp.  M.  109:802;  114:608 
R.  of  Rs.  34:40 
Woodbury,  Charles  H. 
Art  &  P.  4:761 
Brush  &  P.  6:1 
Int.  studio  42:sup.  71 
Wyant,  Alexander  Helwig 

Brush  &  P.  11:184 
Yohn,  F.  C. 

Brush  &  P.  2:161 
Young  Mahonri 

Int.  studio  47:sup.  55 


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